The Dream of Spaceflight: Essays on the Near Edge of Infinity

fire Dream Essays on the Near Edge of In

Wyn Wachhorst

A Member of the Persew Books Group

Copyright 2 W by Wjln Wachhorsf Published by Basic Books, A Member of the Perseus Books Croup Ail1 dghts reserved. Printed in the United States of America. No part of this book may be reproduced in any manner whamever without wriEen pemlssion except in the case of brief quotations embodied in c~ticafarticles and reviews, For information, address Basic Boolts, 20 East 53" Street, New York, PJV 1W22-5299.

Library of Congrea Catatoging-in-PublicationData Wachhorst, Wyn The dream of spaceflight I Wyn Wachhorst.

p. cm, f ncludes bibliographical references and XSBN 0-465-09057-5

1. Manned space Right, TL873,W33 2000 629.454~21

index.

I. Title,

98-086067 CIP

In memory of my father Nevvtan EdMn Wachh~mt abiding like the steeple in, the vilIage and of my mother Narma Harve-y Mchfitomt whose passing prekstined tbis book

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The mind of the scientist exploring space and malter, is dosely related ts the mind of the poet, whose task is to explore inner space and the realiv of things, Like the sGientist the poet is enchanted with an expanding univerx of howledye; but he keeps insisting that the new data rnuft be insovomted into a moml uniwerse, the universe that poetfy originally created as m p h and for which fie must pepemally seek new metaphors.

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Contents

Acknowledgments Foreward by Buzz AIdrin &face: The Inner Reaches of Outer Space + rtepler's l Children:

The Dream of Spaceflight

2 The Romance of Spaceflight: Nrrstaigia for a Bygone Future 3 Seeking the Center at the Edge 4 Abandon in Place

Append&: Space CFrronology

PJotczs Bibliography h&

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I am indebted to Buzz Aldrin, whose support has been indispensable; also to Dr. Lee Enright, Staige Blackford, 1. D. McClatchy, Heidi Downey, Tom jenks, Michelle Gillett, my agents Michaei Larsen and Elizabeth Pomada, and my editor at Basic Books, William Fmcht. Nor can I forgo mentioning two teachers who tower over all others in my 28 years of schooling--Crayton Thorup and Ted Hinckley. But above ail, my wife, Rita, the rainbow through the gray mists of a writing life.

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Foreword

Space journalists have long lamented the lack of poet-astronauts, hoping, perhaps, that pilots, engineers, and scientists might capture what has eluded the writers themselves. A half-century of ting has seemed to harbor a tacit belief that the deeper motives for spaceflight are inexpressible. There are, of course, valuable histories and an array of exdting projections, but beyond a few well-worn phrases, space ten have implied by omission that the inner meaning is ineffable. Wyn Wachhorst's book is thus a long-awaited departure. Apparently the inner experience is expressible. Poised between poetry and psychology, philosophy and history, the book is written in a lyrical style reminiscent of Loren Eiseley, Lewis Thomas, or Chet Raymo's The Soul of the Night. Probing beneath the political, economic,

Foreword

and tribal rationales, Wachhorst reminds us that the cold war alone cannot account for Apollo. Watching the moonwalks on film, we feel like it all happened yesterday, so titanic were the achievements of Apollo and so timid our subsequent efforts. Yet those images are now more than a quarter-century old. Robotic probes have returned impressive pictures and invaluable information, but if you send a robot with a camera to Paris and peruse the pictures at home, you haven't really done Paris. As this book contends, it is humans who must go into space, to "wander far worXds and meet once more the dread unS, the dry-mouthed fears of the old explorers." The people who settled our continent were not afraid of risk; and beyond personal ambition, there was also a desire to be part of something larger, something epochal. If we balk before the challenge of space we will become less than the people who lifted us into the present. Of course our ancestors did not disembark at jarnestown and Plymouth and suddenly build Los Angeles. A lasting human presence in space won't result from sudden leaps like Apollo; it has to move outward on a broad base of permanent support. But what we lack at present is less the

technology than the vision. Beyond robotics and Earth-sewing space stations lies the infinite journey. We have covered the globe in this millennium, and we will inhabit the solar system in the next. Escaping dependence on one vulnerable world, we will found new cultures and new species of awareness, spreading consciousness into the casmos. This is a truly outstanding book, intellectually vibrant, thematically ambitious, acutely independent-minded, and downright moving. Waving history, poetry, and personal narrative, Wyn Wachhorst has written a book unlike any before, a merging of inner and outer that offers a new way of looking at spaceflight. My hope is that it will find a large audience. The Dream of Spaceflight is not just for space buffs, it is for everyone who sees the mystery of the cosmos as analog to the human soul. It is for anyone who seeks a meaning beyond the self, a destiny beyond ephemeral ills. Probing the soul of exploration, it reaffirms the nobility of the human species, "an imperfect people of irrepressible spirit . . . who dare to dream of reaching the stars.99

Many men go Ashing their entire lives without knowing it is not fish they are after. Henry David Thoreau

Preface

Perhaps it is more than coincidence that Sigmund Freud and Edwin Hubble shared the same moment in history, Freud exposing the rational mind as a tiny clearing in the dark forest of the soul, Hubble revealing that our galaxy is only one among billions, that the heavens are immense beyond imagination. To gaze into the night sky and feel the vasmess and passion of creation is to glimpse a n equally vast interior. We are aware of the stars only because we have evolved a corresponding inner space. Beyond all the political and economic rationale~,spaceflight is a spiritual quest in the broad-

Preface

est sense, one promising a revitalization of humanity and a rebirth of hope no less profound than the great opening out of mind and spirit at the dawn of the modern age. The moon landing will be seen, a thousand years hence, as the signature of our century. It stands with the cathedrals and pyramids among those epic social feats that embody the spirit of a n age. They are the dreams of the child in man, arising less from the ethic of work than from the spirit of play, rooted less in means than in meaning itself. Riding the crest of evolution, we explore our horizons as children probe their world in play, longing to perfect a grand internal model of reality, to find the center by completing the edge. Living systems reach out to their environment, merging with larger systems in the fight against entropy. We know from the new science of chaos and complexity that an open system "perturbed" at its frontier may restructure itself, escaping into higher order. The quest for the larger reality is the basic imperative of consciousness, the hallmark of our species. Living systems cannot remain static; they evolve or decline. They explore or expire. The inner experi-

Preface

ence of this drive is curiosity and awe-the of wander.

sense

My purpose has been to bring the deeper, more personal concerns of philosophy to the subjed of space exploration, to bond the wonder of the night sky to the workings of the human psyche. Probing the poetic perception of our first steps out into the cosmos, I have tried to capture the inner, subjective sense of what it means to explore other worlds, and to place that larger meaning in historical perspective. Perhaps the deeper motifs are more suited to poetry or musi n "Apollo" symphony or a "Voyager" concerto. Much of the book is in fact a series of prose movement montage of images and reflections on the dream of spaceflight, from the romantic vision in the decades prior to Sputnik, when fantasy and reality seemed almost in balance, to the meaning of the moon landings and their premature demise. It is also a confluence of edectic ideas, offering new perspectives on the psychology of wonder and the significance of the spacefaring vision in the evolution of Western culture. Perhaps the core message is that evolution and exploration are inseparable, that the cu-

rious intellect and the wondering spirit are the evolutionary process seen from inside. They are the hallmarks of humanity and the true propellants of spaceflight. Though it may be millennia before spacefaring humanitj- views its past as either the dawn of a new world or an exile from Eden, the leap into space has profound psychological, philosophical, and spiritual implications for our own time. Yet among hundreds of nontechnical, nonfiction books in English on spaceflight, only three or four show more than a passing interest in its psychocultural significance. "The horror of the twentieth century," Norman Mailer once wrote, "was the size of each new event and the paucity of its rtsver'beration."Vt seems time, more than a quarter-century after the last moonwalk, to look for the larger meaning of humanity in space.

The Dream of Spaceflight

Let us honar if we can The veaieaf man Though we value none But the horizontal one. W 11. Audewr, Epigraph far Pwms

Chapter One

Kepler's Children: The Dream o

ULLED BY THE HAND,

the six-year-oldboy ran

beside his mother, scunying through namw cobblestone streets. Peddlers pushed their ironwheeled carts, players and musicians passed in procession, and lepers shook their rattles as night fell on the Swabian village of Weil. At the edge of , the boy and his mother moved across a new-mown field and up a small hill in the last purple aura of dusk. The sounds of the village gave way to a silent canopy of stars, an ocean of light spanning the world from edge to edge, dwarfing the stern little steeple and its flock of houses, huddled in the twilight of an age. The boy and his mother stood on the crest of the hill in the drone of the night wind. They had

The Dream of Spacefigfit

come to behold a streak of cosmic fire hanging motionless in the heavens, slashing across a full third of the sky. It was a moment burned into the boy's memory. Though his mother had heard that the comet foretold a new age, she would never know that there at her side stood the earthly counterpart to that cosmic aberration, who would pass through the world like the wind in the grass, sending a shudder through the whole medieval order, sowing the seed of the modern age. For the Great Comet of 1577 had fired the soul of Johannes Kepler. He was a spindly, mange-eaten boy with a bloated face-sickly, pasty, chronically covered with scabs, boils, violent rashes, and putrid sores, plagued with worms, piles, myopia, and multiple vision. A precocious adolescent, neurotic, selfloathing, anogant, and vociferous, he was an introspective loner, belligerently defensive, and prone to wild fits of anger. He was frequently beaten up for being an intolerable egghead, welcoming, perhaps, the periods of hard field labor that kept him from school. Raised by an extended family that Arthur Koestler describes as "mostly degenerates and psychopaths," the boy saw little of his vicious father, a mercenary adventurer who

FieplerssChildren

barely escaped the gallows, and who finally wandered away forever. Nor was he a special concern of his mother, a quarrelsome eccentric who was nearly burned as a witch. Out of this "childhood in hell," as Koestler put it, came "the most reckless and erratic spiritual adventurer of the scientific revolution." His lifelong quest for larger meaning, for celestial harmony in an age of upheaval, sought a new image of God to transcend the misfortunes of a persecuted exile, swept about in the storms of seventeenth-century Europe. A strange and tormented genius whom Kant called "the most acute thinker ever born," johannes Kepler stood aswde? the intellectual divide bemeen medieval and modem.

fhe Podc Strudun of the Wadd Like the seafarers of their time, seventeenthcentury scientists left well-worn paths to seek their own East in the west, for the new empiricism was oeen incidental to their search for a harmony and symmetry that would reveal the mind of God in nature. Kepler's laws of planetary motion-the first "natural laws" in the

The Dream of Spaceflight

modern sense--not only rescued the Copernican system from philosophic obscurity but were also prerequisite to the law of gravity, upon which Newton built the modern universe, Yet the founding of modern science was a byproduct of Kepler's larger purpose, which was to seek no less than the poetic structure of the world, the grand geometric symmetry of all creation. His famous empirical laws were to him mere tools in a lifelong obsession to prove his mistaken notion that the vertices of the five symmetrical solids (pyramid, cube, etc.), inscribed or nested one within the other, defined the orbital spheres of the six known planets, and that their relative motions matched the mathematics of musical harmony-the music of the spheres. Driven by a cosmic vision, a grandiose fugue woven of science, poetry, philosophy, theology, and Pythagorean mysticism, Kepler's transcendent goal--to map the mind of God-was more medieval than modern. Yet in this quest for his summa of the Renaissance, the perfection of which eluded him all his life, Kepler had seen that empirical observation was key. He founded celestial mechanics, moving astronomy from theology to physics. Ironically, he compared his

Kepier's Children

voyage of discovery to that of Colurnbus, little knowing that he himself had discovered his America believing it was India. It was neither Copernicus nor Galileo but johannes Kepler who launched the scientific revolution. Failing to match the paths of the planets to the vertices of his symmetrical solids, Kepier came finally to question the orbits themselves. By a stroke of luck, the astronomer Tycho Brahe, whose obsemations were the most accurate to date, was so protective of his data that he would give Kepler only his figures for Mars. Only the orbit of Mars, having the largest eccentricity, could have forced Kepler to abandon the dream of symmetry. Attempting to derive the orbit from Brahe's data, he was unwilling to accept a discrepancy of even a few minutes of arc. He labored six years on the problem, covering nine hundred folio pages in small handwriting, at one point repeating seventy times a process involving thousands of calculations. Looking first for a n egg-shaped orbit, he settled sadly on the lowly ellipse. Thus the planet Mars, so prominent in subsequent dreams of spaceflight, led Kepler to the first natural law: planets move in elliptical orbits. This in t-um led him to two additional discoveries:

that a planet sweeps out equal areas in equal times, and that the squares of the periods of revolution of any two planets are as the cubes of their mean distances kom the sun-the revelation that led Newton to the law of gravity. Though Kepler salvaged his vision of harmony with his motion of musical intewals, he had opened the universe to infinity. No longer in the supernatural province of God, the planets now belonged to man. Yet the three laws had no apparent relationship before the invention of calculus and analytic geometry; thus, one of Newton's greater achievements was to spot the laws in Kepler's writings, hidden away, as Koestler notes, "like forget-me-nots in a tropical flower bed." With those laws NeMon laid the hundation of the pyramid that would put man on the moon. Seeking the Past in the Future "Let us create vessels and sails adjusted to the heavenly ether," Kepler wrote to Galileo, "and there will be plenty of people unakaid of the empty wastes. In the meantime, we shall prepare for the brave sky-travelers maps of the celestial bodies."z The reducfion of the planets from ethe-

real orbs to rocky worlds like our own resuited from both Kepler's work and the advent of the telescope (which was neither invented nor understood by Galileo; it was Kepler who deciphered its principles and founded the science of optics). The planets had become real places in the sky. Thus Kepler's Somnium (16341, published four years after his death, became the first cosmic voyage in modern science fiction, providing a model for later works. Though the moonflight itself was a dream, Kepler took great pains to envision the lunar surface and its inhabitants, Disguised as fiction, it was in fact a heretical scientific hypothesis, the first seriously to suggest extraterrestrial life. Kepler poured his soul into Somniurn, In. it, observes Koestler, were "afl the dragons which had beset his life-kom the witch Fiolxhilda and her vanished husband, dswn to the poor reptilian creatures in perpetual flight, shedding their diseased skin."3 And the same tension of old and new that had defined his life colored. this fast work, for if the hero was whisked to the moon by spirits, he was also first to see Earth afloat in the lunar sky, where the continent of Africa resembled a head, and Europe a girl bending down to kiss it.

The Dream of Spaceflight

In projecting a lunar reality based on the best science of the day, Somnium was ahead of its time. Though the literary history of voyages beyond the Earth dates from second-century Greece, tales before the nineteenth century were the tongue-in-cheek gimmicks of sermon and satire. Travelers were swept to the moon by angels and witches, by ships borne on whirlwinds or waterspouts, and in chariots dra red horses. One voyager wore the wings of a vulture; others sailed a n angular framework suspended from a team of swans, donned botNes of dew that rose with the dawn, ar ascended the heavens in an iron car by lobbing lodestones continuously upward. Shrewdest of all, perhaps, were those who simply arrived on the moon unexplained. But even these tales were virtually nonexistent until the fabulous voyage flowered in Elizabethan literamre.4 The sudden popularity of the cosmic voyage in the 1630s found fertile ground in an ambivalence toward accelerating change, a yearning to escape the present by seeking a simpler past in a purified future. Like twentieth-century America, early seventeenth-century England straddled old and

new, oscillating between extremes of hope and pessimism, experiencing what literary historians have called a failure of nerve, a metaphysical shudder. Amid political and economic turmoil, the medieval world-picture was surfacing into critical consciousness. Like present-day materialism, it was losing the power to provide axiomatic order and meaning.5 But if a melanchoiy sense of mutability and decay reinforced the Christian notion that history must unwind to its end, the new visions of Kepler, Galileo, Bacon, and Descartes, with their expansive belief in humanity's ability to improve on nature, promised escape from history. The New World became the idyllic setting for utopian tales, and Kepler's notion of a world in the moon prompted fables of escape to simpler but superior peoples on exemplary planets. The vast resources of the New World so liberated human potential that the imaginative mind felt a new rela~oxtwith the urzivers of control over destiny. But the consequent rise of the self-reflexive individual, severed Er-om irzstihtional contexts of identity, brought the loss of innocence that has made the reconquest of Eden the organizing image of the last half-millennium.6 if the Copernican expulsion from the literal center

The Dream of Spaceflight

symbolizes this loss of larger meaning, then the leitmotif of the longing to return-from Kepler in the seventeenth century to von Braun in the Wentieth-has been the dream of spaceflight. In contrast to the horizontal expansion of modem xnalericnfism, which has conhsed Paradise with power itself, this longing for meaning has been a vertical vision--seeking the whole over the part, the why over the how, meaningful ends over endless means-akin to the medieval penchant for spirit over matter, which put final meaning at the highest point in the heavens, embodied in the cathedral's soaring vaults. From early explorers, scientists, and novelists to pulp writers and rocket pioneers, the forerunners of spaceflight have been keepers of this lost vertical vision. Imbued with curiosity and wonder, they have carried the quest for meaning across the modern desert, seeking the East in the West, the past in the future, the center at the edge. Rites of Passage Certainly curiosity has been prerequisite to our success as a species. But what drove a man like Magellan, who sought the mythic el paso, the

Kepfer's Children

passage to the Orient, only to find himself on the far side of a globe many times larger than imagined, hurled about in howling winds amid mo~ntainsof water, or becalmed in a stillness that roasted the flesh, putrefied meat, and fouled water casks with green scum? He and his men ate worm-filled biscuits turned to powder and the ox hides off the masts, unable to get their fill of that delicacy the rat. And what drove the Spanish adventurer who trekked across the Isthmus of Panama in 15 13 with 190 men in heavy armor, scaling steep mountains, forging defiles and dark troughs of swampy rain forest, beset by snakes, predators, and poison arrows? A nineteenth-century expedition following the same route lost every man; even today no road traverses it. But the hardy redhead Spaniard reached the westernmost mountain with sixtyseven men. Climbing the last peak alone with his dog, Vasco Nuiiez de Balboa stood silent on the bare summit. Beyond the virgin forest glistened the vast blue of the Pacific stretching away with the other half of the world. The price of exploration has been high. On the far side of the Earth, Magellan's body, mutilated by native knives and spears, lay on a barren

The Dream of Spacefli&t

beach. Balboa, a victim of political intrigue, was beheaded in a public square, his head displayed on a stake, and his body thrown to the vultures. What motivates those who venture over the edge, who trek over barren plains, through tangled jungle, or across the Arctic waste; who ride on fire over the rocks of the moon, only to yearn for the relentless red desert of Mars? Surely it is more than gold and glory. What the biographies of most explorers reveal, in fact, is a sometimes selfless obsession with reaching the pristine edges of reality. At the heart of exploration, it seems, is the attempt to complete the grand internal model of reality, to broaden the context of meaning, to find the center by completing the edge. In a sense, the age of exploration, geographic and scientific, is the whole of modern history, a five-century quest for self-definition. just as the adolescent's desire to remain dependent in a maternal Eden conflicts with a growing sense of autonomy, the modern age, suspended between an authoritarian past and an existential future, has been man's rite of passage. The adolescence of humanity began with the age of exploration. So it is fitting that the impetus for Kepler's grand internal model of the solar system was

Kepler's Children

both a priori and inductive, ideal and real, regressive and progressive, a tension resembling that of adolescence. For not only was the seventeenth century a torn and restless era of nascent individualism, but the architects of the modern age seem themselves to have lived in that limbo between childhood and maturity. Copernicus found refuge kom lonely isolation in secret and incessant elaboration of his system; Galileo was a self-centered egomaniac; and Newton, also a rational mystic, was a sickly reduse, alienated from his parents, obsessed with his work, and a lifelong celibate. Kepler himself, as Koestler observes, seemed polarized to a point verging on insanity. He was a "dark, wiry figure, charged with nervous energy," his Mephistophelian profile "belied by the melancholia of the soft, shortsighted eyes." He was both n a W and profound, fanatically patient and violently irritable, burdening his sweeping fantasies with pedantic obsessions over kaction-of-a-decimal deviations, Set against twenty years of dreary, heartbreaking computations, the true significance of which he never perceived, his labors were suggestive, says Koestler, of the "explosive yet painstakingly elaborate paintings by schizophrenics."7 In that

The Dream of Spacefiight

tension lay the spark of the scientific revolution and the drer~mof reaching the stars.

Perhaps there was a brief moment, on some bare summit of imagination, when Kepler himself glimpsed the true scope of the cosmos, stretching away before him like Balboa's Pacific. But Kepler, too, had paid the price of beaching his boat on the shore of a new world. For attempting to stand above the political and religious forces of the Thirty Years War, he was excommunicated and exiled, forced to migrate from city to city with his family, his household goods piled in a wagon. He was chronically ill and ever in fear of penury and stanration, trekking fronl court to court in his baggy, food-stained suit, pleading for his fees. Seldom understood, he was desperately lonely amid the ignorance and provinciality of his time. His first wife, a nagging, simple-minded, sulking woman who viewed with contempt his position of stargazer, died of typhus at thirty-seven. In the end, Kepler lost six of his twelve children. His mother, accustzd af Wtchcraft and hained in prison for fourteen months, died shortly after he

secured her release. Through all this, fluctuating between ecstatic discovery and frequent depression, Kepler wrote his Harmony of the WorM con~ n c e dthat the world that so miskeated him was nonetheless beautiful. One day in the fall of 1631 he set out on a skinny nag in search of funds with which to feed his children. Three days out, he died in a fever at the age of fifty-eight. As befit an outcast who wandered the edge, the tides of war erased his grave and all trace of his bones. Like the Great Comet itself, the fugitive odyssey of johannes Kepler drifted on that great divide belttveen Aristotle and Newton, animism and mechanism, spirit and matter, a wind bemeen worlds, For decades after his death, until Newton unearthed his significance, scholars saw only the wild-minded apriorist whose speculations had included an Earth soul and radiaitions from the planets that shaped human lives. The ironic postscript was that the planets, which his labors had so demystified, stood in the same positions at the moment of his death as they had on the day of his birth. Embodying the vertical mind of the medieval while setting the modern mind in motion, the

two sides of this wholly original man foretold the tension of our collective adolescence-the oved drive to recapture Eden with the rational mind and the covert need to restore the old mysteries, to humble man once more before Nature. Epitomizing this polarity, the prophets of spaceflight--from the astronomers who mapped imaginary Martian canals to the writers who peopled them with exotic beings to the rocket pisneers themselves-were realis& in search of the ideal, reflecting the expansive spirit of the age while preserving the transcendent vision. A classic Heinlein story comes to mind in which the community aboard a starship, intended to reach its destination after countless generations, has forgotten the origin and purpose of the journey.8 A similar loss of meaning has befallen spaceship Earth, where dreams of enlarging the grand internal model, of moving toward some final cosmic perspective, yield to the cancerous individualism that devours the social organism. The Romance of the Red Planet Two centuries after Kepler, when Enlightenment

rationalism was itself becoming the exhausted

aid order, a cultural crisis similar to that of

seventeenth-century England arose in the wake of the French Revolution amid the first signs of urban-industrial stress. Once again a literary awakening sought an Edenic past in a purified utopian future. As Enlightenment faith in the rational perfectibility of man descended from the moral to the material, the Romantic revolt seeded the future genres of popular culture. The list of nineteenth-century proto-science-fiction authors, from Mary Shelley to H. G. Wells, all of whom explored the dark side of the machine age, reads like a roll call of Romantic reaction. But like its Romantic roots, science fiaion has always reflected both progressive and regressive responses to social change. Its rising popularity over the past two centuries owes much, in fact, to its paradoxic embodiment of the ever more polarized modern temper. Exemplifying the nineteenth-century vision of technological salvation, the tales of jules Verne were by far the most popular, looming large in the childhood of virtually every spaceflight pioneer. Hermann Oberth, the father of German rocketry, reread Verne's classic From Zhe Earth to the Moon (1865)until he knew it by heart.9

The Dream of Spacefli&t

But it was in Amehca, Verne's land of t o m r row, that science fiction, the cosmic voyage, and the quest for an idealized past in a limitless hture found their greatest appeal. A partial explanation may be that America has colledively reenacted the passage fiom childhood to adolescence. Settled by millennia1 sects and shaped by Enlightenment principles, America rode the leading edge of modern history. The absence of limits-heedom-became the core of the American faith, from the rejection of political and ecclesiastic authority to dreams of success, manifest destiny, and unlimited economic growth. Abundant resources, geographic insulation, waves of uprooted immigrants, a restless physical and social mobility, and the consequent lack of traditional instimtions exacerbated the kagmenting forces of recent centuries, producing a pluralistic society of disconnected individuals, each free (and condemned) to find their own separate meanings. Near the end of the nineteenth century, industrial expansion, a shrinking globe, the dosing of Western civilization's four-century frontier, and the loss of local autonomy marked a transformation even more profound than that of the early

KeplerpsChildren

seventeenth century. just as in Elizabethan and Smart England an organic medieval order gave way to a new existential freedom, late-nineteenth-century ericans began the search for a mechanical order to counter the logical extremes of that freedom. The response resembled that of an adolescent encountering the world of communal responsibility: a wave of exapist fantasy swept over popular culture. An early sign was the dime novel, idealizing the cowboy as the last areas of free land disappeared. Soon, however, following the lead of Veme, Wells, Bumughs, Gemsback, Campbell, and others, science fiction became a popular alternative to the Western. It was fitting that this mythology appealed most strongly to adolescent males. Its ponderantly outsiders, men who saw in science Action a haven, for the vertical vision, a means of transcending mundane modernity.10 A major catalyst was the rise of speculation on the possibility of life on Mars. It began with a Boston Brahmin and U.S. diplomat named Percival Lowell, brother of the poet Amy Lowell and Haward president james Russell Lowell. Like Kepler, Lowell's earliest memory was of a cometDonatits of 1858-which sQetched across an

The Bream of Spaceflight

entire quadrant of the sky. "I can see yet a small boy half way up a turning staircase," he wrote, "gazing with all his soul into the evening sky where the stranger stood."lI Also like Kepler, his destiny was shaped by the planet Mars. Interpreting Schiaparelli's 1877 reports of Martian canali (channels) as literal eanals, he dev&ed the later part of his life to a study of the planet, building an observatory on "Mars Hill" near Flagstaff, Arizona, and sighting more than seven hundred canals bemeen 1894 and his death in 1916, Over the years he developed the theory of an ancient, withered, Earthlike planet, a frigid desert irrigated by a vast system of canals built by an older, wiser civilization, heroically trying to delay extinction. Controversy raged for decades, with most astronomers denying any such canals, driving Lowell into long periods of nervous exhaustion. In the end, as the Masiner and Viking probes revealed, the canals were figments of a fervent and wishful imagination. Nothing on Lowell's maps matches the real topography of Mars, the features of which, in any event, would have been too small to see. Yet a few observers did see some of the same straight lines that Lowell had so carefully penciled on

&pier's Children

countless long cold nights at the twenty-six-inch telescope on Mars Hill. "I have the nagging suspicion," Car1 Sagan has said, "that some essential feature of the Martian canal problem still remains; undiscovered."~~ Though what Lowell called his "far wandering" in the night sky went beyond Mars and laid groundwork for the discovery of Pluto, and for Edwin Hubble's expanding universe of numberless galaxies, it remains the larger legacy of this much-maligned man that the notion of inhabited planets and superior Martian intelligence passed into the public imagination, resuscitating the seventeenth-century belief that extraterrestrial life was commonplace and convincing young pioneers that exploring the planets was a human imperative. One of these was Robert Goddard, inventor of the liquid fuel rocket, who had been fascinated by Lowell's lectures a t MIT. Between 1880 and World War I, the thirty-year Mars furor, which at its peak in 1907 overshadowed the national depression, engendered more than two hundred works in English on interplanetary voyages. So deeply had Lowell penetrated the public mind that the nation panicked the novel that won when The War of" the WO

The Dream of Spaceflight

H, 6 , Wells his initial fame-was drama.tized as a simulated news broadcast in 1938, Mars had come to incarnate the mystery of the cosmos, a blood-red beacon burning low in the night sky, beckoning generations of youths to wander the grassy banks of the great canals, down long green valleys to the gates of crystal cities. Another author who emerged from the Mars mania had no illusions of writing literature on a higher plane, yet he bears major responsibility for the mythic image of Mars. An ex-cavalryman, gold prospector, railroad cop, and candy vendor, Edgar Rice Burroughs had gone from failure to failure, selling pencil sharpeners at the time he wrote Under the Moons of Mars, serialized in All-Story Magazine in 1912, the first of ten books about john Cafier on Mars. Wi"c their clumsy prose, formulaic plots, and appeals to simple emotions, the books depict a dying world of mass-covered sea bo@oms,lost cit-ies, and exotic races. It is a world of decadent, sword-carrying barbarian cultures, living off superscientific technologies from an ancient past. In stories smffed with V-ictorian values of love and honor, scantly clad women are threatened by hideous monsters and saved by muscular heroes who re-

Kepler's Children

spect their virtue utterly. Yet Burroughs had a genuine inventiveness, a mastery at populating imaginary landscapes. A true sense of wonder surrounded the green, four-armed, fifteen-foot, sharp-tusked Tharks, the symbiotic relationship of the headless rykors and the bodiless kaldanes, and the beautiful, red-skinned, egg-laying princess Dejah Thoris. Bumughs's stories of Barsoom, as he called Mars, launched the genre of scientific romance and space opera, capturing the likes of Carl Sagan, Afihur Clarke, and Ray Bradbury while spawning myriad progeny, from Buck Rogers and Flash Gordon to Star Wars and Star Trek. Bradbury notes that mast af the scientists and asQonaut.s he has met are beholden to some romanlic encountered in childhood. "It is part of the nature of man," he adds, ""ea start: Mth romance and build to reality. We need this thing which makes us sit bolt upright when we are nine or ten and say, 'I want to go out and devour the world."''3 Bradbury himself, who published his dassic Madan Chronicles in 1950, owed a great debt to that pencil-shalpener salesman whose seventy-some books, uvith sales over fOO million, included adventures in the steamy jungles of Venus, hollow-

Earth stories, and tales of Tarzan. That same year, Edgar Rice Burroughs died at the age of seventyfour, at his home in Tarzana, California, sitting in bed, reading a comic book. One-Dream Man

One of those whose imagination had been "gripped tremendously" by the Boston Post's serialization of War of the Worlds was a boy who went out to pmne his grandmother's cherry tree one autumn afternoon in 1899. Lying in the high limbs and gazing into the New England sky, he suddenly envisioned a whirling machine, spinning until it began to lift, rising above his grandmother's house, his invalid mother, and his own chronic infirmity, out of Earth itself to the canals of Mars, and to the strange civilizations that beckoned from the pages of books he had read and reread, At a time when even the airplane was unknown, he conceived the dream that would consume his life: to find some principle, some mechanism, some great machine that would take man to the stars. Robert Hutchings Goddard marked the day in his diary; he would remember it as a private an-

niversary during decades of disappointment, as the rockets he invented exploded, fiuled, or failed to ignite. Although the Russian Konstantin Tsiolkovsky had written on the potential of the rocket as early as 1903, Goddard independentiy came to the same condusions after considering a number of methods, including multistage projectiles. Unlike Tsiolkovsky, however, Goddard was a practical engineer who went beyond theory to build and test working models, launching the world's first liquid fuel rocket in 1926. Working with a handful of helpers in a place called Hell Pond, near VVarcester, Massachusefis, and later in Eden Valley, in the desert of New Mexico, this stooped, tubercular man found meager financial support for his rockets until another soaring idealist, Charles Lindbergh, intervened on his behalf. A withdrawn professor of physics who wore shabby clothes for comfort, Goddard always concealed his cherry tree vision of Mars behind military and meteorological rationale~.Meanwhile, military motives and the independent theories of Hermann Oberth, along with a standing order for all of Goddard's patents, put the Germans ahead. Yet the reclusive Goddard invented every principle of propul-

The Dream of Spaceflight

sion and guidance, anticipating all the essential elements of the modern multistage rockets that have taken man to the moon and sampled the soil of Mars. From his first experiments on a farm in Auburn, Massachusetts, to his last days in the desert, through years of failure and "moonman" ridicule, this tireless man, who always laughed at the simplest of jokes and who was described by a friend as possessing an "overwhelming averageness," a "boy scout conventionality," remained the Yankee optimist. Now and then he returned to the cherry tree where his vision began, always noting the day in his diary. In it he once wrote, after his fiancke had tired of his obsession and left him: "God pity a onedream man.'Qd In his later years, Goddard still labored from three in the morning until eight at night in the broiling desert heat, staggering home after each defeat with fatigue visible over his whole body, his shoulders bent fomard to accommodate his weak lungs. "How many more years I shall be able to work on the problem I do not know," he once wrote to H, C. Wells. "There can be n s thought of finishing, for 'aiming at the stars' is a

Keplets Children

problem to occupy generations. . . . No matter how much progress one makes, there is always the thrill of just beginning." When the spaceship was still pulp fantasy, he wrote of "morning in the desert, when the impossible not only seems possible, but easy."15 During his last days, before he succumbed at sixty-two to pulmonary problems and throat cancer, Goddard spent sleepless nights sitting outside in a blanket watching the stars. He died on August 10, 1945, the day affer the atomic bomb ended the war and launched the space age. Only four years later, at White Sands, New Mexico, not far from Eden Valley, where Goddard's launch tower gathered rust, a small rocket, mounted on, the V-2 that his work had inspired, crossed the threshold of space. What might Goddard, the "moony" and "crackpot," have felt had he seen the glowing arc of the Earth on the black of spac he vivid planet of swirling clouds, cerulean seas, and pastel continents, floating below orbiting astronauts like a great mothership? Goddard's life belongs to the epic of humanity's great projects, from massive stone blocks creeping over the Egyptian desert to the gargan-

man crawler inching Apollo toward the pod. Perhaps, as Esther Goddard sat in the VIP stands watching the launch of Apollo-Saturn to the moon, she recalled the predawn excursions into the desert with their rocket roped to a rickety truck. As Goddard had set up his crude apparatus against the first glow of day, Esther had readied the telemetry-the home movie camera, biinoczllars, an old alarm clock to drive a =cording drum. Perhaps her memory of the homemade Xaunch tower dissolved to the distant view of the great gantry at the cape as the thiq-sixstory, three-thousand-eight-hundred-ton Saturn rocket rose slowly for a silent, shimmering moment-as though it were still a dream-then thundered into history.

Also in, the VIP stands for that launch was a little gray-haired man with sparkling eyes, a small moustache, and an eagle-beak nose. It is unlikely that many recognized him, despite his cameo appearances at major junctures in spaceflight history. A decade earlier at Redstone Arse-

nal in Alabama, where he was a token employee of the team that launched the first American satellite, he wandered about the buildings in similar anonymity, wearing a gray beret and c a v i n g a briefcase that contained only his lunch. Even at PeenemUnde on, the Balac, he was unfamiliar to many as he stood watching the Ant successful launch af the V-2. And in 1929, after he had nearly lost his sight and hearing in a disastrous attempt to build a working rocket for the premiere of the German film Woman in the Moon, he slipped unrecognized into a Berlin theater on the film's opening night and watched from a cheap seat. For he was a theorist, not an engineer; an absent-minded visionary, not a man of action, whose interests, like Kepler's, were philosophic at heart. Yet it was this man, more than anyone else, who set the space age in motion. As a shy, gangling boy in Transylvania, Hermann Oberth had memodzed Verrze and dreamt of going to the moon, even practicing weightlessness in a swimming pool. To his father's disappointment, he abandoned the study of medicine for mathematics and physics, writing

his thesis in 1923 on the rocket as the key to spaceflight. Finding no professor who would support the paper, he scrapped his scholastic hopes and published it on his own. A small, thin pamphlet ignored or belittled by the scientific establishment, Die Rakete zu den Planetenraumen (The Rocket into Planetary Space) sold out immediately and launched the dream of real spaceflight in the twentieth century. The book led directly to the founding of the German Rocket Society and inspired the eighteen-year-old Wernher von Braun to devote his life to reaching the moon. Van Braun and other members of the society were given $100 million by the German army to develop the V-2 at Peenemunde. It was this rocket team that later fled to A m e ~ c aand ultimately put man on the moon. Had Die Rakete appeared later the V-2 would have missed its military moment, and the moon landing might have been delayed indefinitely. Although Oberth had independently reached the same conclusions as Goddard, laying the theoretical groundwork for the V-2, he received little credit in the end. Van Braun and his team of engineers and military exploiters accomplished the dream while Oberth languished in the wings,

Kepier" Children

ridiculed by scientists, strung along by financiers, and sidelined by governments. After the war, in which he had lost a daughter at Red Zipf test site and a son on the Russian korrt, he rehmied home to teach school for most of his remaining years. He had been the key innovator, making the initial sacrifices only to move directly from ridicule to obsolescence and pensioned obscurity. A few years before Oberth's death, Arthur Clarke spotted him among a crowd of visitors being guided through the great space center in Greenbelt, Maryland, that now bears Goddard's name. It was likely, noted Clarke, that even the young scientist guide had never heard of him. In the end, no single figure emerges clearly as the father of spaceflight. Perhaps it was Goddard or

Oberth or Tsiolkovsky or von Braun. Perhaps it was Sergei Korolev, the "Chief Designer," who survived Siberian prisons and lifelong anonymity to launch Sputnik and the space race. Although it is difficult to designate the man, the decisive rnoment is clear. Spaceflight was born on a brooding stretch of land along the Baltic Sea, at the mouth of the River Peene on the north coast of Germany. Hidden away in an ancient forest on the reedy

The Bream of Spacefright

marshlands of Peenemiinde, a forty-seven-footA4 rocket stood on the firing table like a monstrous mimicry of Wolgast Cathedral, visible on the western hills. Shedding its chain, the rocket rose out of the woods, howling to a record height of sixty miles on its first successful test. "Today," said team leader Walter Dornberger, "the spaceship was bom." The day was October 3, 1942, and the fourteen-tonA4, poised like a Gothic spire against the tall trees, was later renamed Vergeltungwaffe, "vengeance weaponJ'-the V-2. Everything about Peenemiinde suggested the Gothic, from Hitler's own Wagnerian megalomania (""But what E w n t is annihilation, annihilating effect!") to the forest castle sunounded by missiles, where the team was decorated one night in a dark dining room, each presentation foliowing a launch. A curtain was opened in the direction of each firing, allowing the room to flash with the light and reverberate to the thunder of the rocket. A ant of modem Gothic also touched Wernher von Braun, son of Baron Magnus von Braun and kchrrical chief at BeenemGnde. His fixation on spaceflight dated from his student days, when an experiment with a bicycle-wheel centrifuge had put a ring of mouse blood on the

walls of his rented room. At seventeen, he introduced himself to the German Rocket Society--secretary Willy Ley came home one fall day in 1929 to find a polite young man playing the Moonlight Sonata on his piano. Developing rockets for the army during icy winter nights in the Brandenburg w a d s south of Berlin, the cavalier von Bmun often lit them with a cigarette, graduating to a twelve-foot match as the models grew larger, once walking away unscathed when an explosion blew the metal doors off the test shed, bent steel girders, and embedded fragments in the bees. At Peenemiinde, where he used the military to further his covert vision of space, he would sit into the wee hours of the morning sketching plans for flights to the moon and Mars, reveling, as Dornberger reminisced, in the dream of "anything that was big, powerful, immeasurable and far in the future."'6 But if PeenemUrrde was a labor of love for von Brctun and his teammatrts-who had danced, laughed, leaped, and embraced as the V-2 soared away that crisp October day--it also exacted o great price. For another twenty-three months, solemn men in wave-beaten boats retrieved rocket parts from the bay in the icy dusk, making another 65,000 changes before the V-2

The Dmarn of Spaceflight

was operational. In the process, 735 lives were lost in two bombing raids on Peenemiinde. But the figure pales before the 8,380 V-2 casualties in London alone and the suffering of thousands of enslaved workem who assembled the rockets in the huge underground factory at Nordhausen. The vengeance weapon was the fruit of a vengeance war, similar in cost to the atomic bomb; together they would launch the dark side of the space race. Yet the V-2, conceived in suffering and sent in the wake of war to the deserts of the world, was reborn to its creators' purpose; its progeny will take us to the stars. Vigil in the Desert

Some ninety miles north of El Paso, Texas, in the desolate Tularusa Basin of New Mexico, lay a barren expanse of flat desert called White Sands Proving Ground, a shimmering sea of sunbaked gypsum stretching to the horizon. Like black and white scenes kom old science fiction films, a long, straight road followed power poles over the desert to distant mountains. Robert Goddard had spent his last tortuous years testing rockets in the neighboring county. A few miles away, the first

Kepier's Children

atomic bomb had turned the terrain to glass. It was here that the V-2s were redeemed. Symbols of the postwar promise, they stood like steeples oddard's "morning in against the dawn s the desert," when all things seemed possible. In 1950, when I was carving balsa copies of the silver ship from Destination Moon, inserting CO, capsules to send them hissing in camheels over the neighbor's fence, the romance of spaceflight and the dawning reality seemed counterpoised. To a twelve-year-old boy, "White Sands" had the sound of a holy place, a magic portal to the moon and Mars, worlds still closer to Kepler's Lavania and Burroughs's Barsoom than to future photographs from Apollo and Viking. In that time of beginnings, when Heinlein wrote of a boy and his uncle building a backyard rocket and flying to the moon, the vision of spaceflight had the innocence of the early pioneers, who tinkered with rockets in the belief that they would soon be riding them. Like its cold war counterpart, Kapustin Yar, White Sands suited the adolescent dream. It was a harsh, lonely desert where an isolated few secretly sought the power to break the bonds of Earth. The drive to the edge, having reached the

The Dream of Spaceflight

ice di% at the litercxl ends of the Eafth, now reached out to "conquer" space. But like the rocket team, awaiting the morning launch, or the vigils of Lowell searching the sands of Mars, the quest for the center, from Kepler to Korolev, had come through a long desert night. With the view from space restoring Earth to the spiritual center, we awaken from what Blake called the "single vision of Newton's sleep." Coming of Age in the Cosmos

Wriggling from his orbiting capsule for man's first walk in space, cosmonaut Alexei Leonov was born into the starry deep, floating at the end of his umbilical. All about him was a blackness so intense it seemed he caulld reach out and touch its texture, a darkness so deep that the hair rose on his neck and the flesh crawled on his back. Before him lay the vast curvilinear presence of planet Earth--soft, glowing, haloed against the black abyss. Leonov tumbled slowly in the windless, odorless void, hearing only the rhythms of his body, severed from the mothering Earth--who seemed at long last to have borne a space creature like herself.

Kepler's Children

Those who have shared Leonov" view of Earth report a pristine clarity, a vividness uncaptured by photographs. Images on film lack the subtle shades, the brightness, and the depth of the living sphere, which bulges out of the blackness. From the blue marbled Mediterranean, all of Europe and Africa sprawl away in soft pastels, innocent of political boundaries. There is an aura of utter reality, of waking from the long, murky dream of man" moment on the surface, One longs to summon back all the Caesars, Pizarros, and Napoleons and put them out there that spring morning with Alexei Leonov, with the radiant arc of Earth floating up like a great leviathan surfacing on the stellar ocean. The image of Leonov drifting alone in space is the consummation of modern history. For the five-century rise of spacefaring man saw the ascent of the free-floating individual, severed from sources of meaning, tenestrial astronauts adrift in urban bubbles and left to invent their own lives. And humanity itself comes to the end of the age listening like Leonov to the sound of its own breathing. Though some see our severance from Earth as symbolic of this deepening isolation-the last

great Faustian act-others see a communal awakening with the image of a living Earth, the unifying circle of world mythology, paradise regained by the same inflation through which it was lost. In truth, the leap into space stands with the voyage of Colurnbus as the last act of a n old order and the first of a new. just as the attempt to crown the glory of Europe with the wealth of the Orient relinquished the future to the opposite hemisphere, the image of our fragile, lonely world rising over the dead moon encouraged a rebalance from outer toward inner space, the self-awareness that comes when we realize that the parent is finite and mortal. From such cultural eversions come the new mythologies, the new Zeitgeister. One awakens from a dream carrying fresh symbols from the unconscious, the prophet wanders into the desert to reappear with the word of God, and the astronaut reaches the moon to return with a new image of Earth. Riding his space pod out of the blue planet on a pillar of flame, Leonov was bome b m the flat world of our fathers in a fiery rite of passage, marking the end of man's adolescence. If the fivecentury age of exploration is the collective

parallel to the growth of individual egoconsciousness, the cxskorzautfsseverance &am the source is the final inflated act, From his literal alienation, his pilgrimage into the desert, comes communion with a larger reality. Seeing Earth not as an extension of man, but man as an extension of Earth, we come of age in the cosmos. If Leonov's odyssey is symbolic of the present transformation, the rise of spaceflight itself is the metaphor of modern history. just as Kepler's medieval quest launched the modern age, the dreamers of spaceflight sought the rebirth of wonder--the remystification, the reenchantment of the world. Yet in this cycle of inner and outer realities, the promise of spaceflight holds more than the redemption of Mother Earth. Perhaps evolution is a narrowing spiral, seeking a paradoxic union of poles that is itself the Center, each turn bringing a new depth of vision. The longings that bore Leonov into the starry deep sought a new equation of inner and outer space, merging the feminine mysteries of earth and soul with the masculine quest for heaven and spirit.17 Standing between two unfathomable infinities, we grasp the one only as it reflects the other.

The Dream of Spaeefli@t

Swan Song We are creatures of the image. Though Leonov was the first to walk in space, it was a photo-

graph-that of the first American space walk some three months later--th caught the attention of the world. Of the four famous images to emerge from manned spaceflight, it was neither the whole Earth, nor Earthrise from the moon, nor Aldrin poised on the lunar surface, but Ed White, floating over the milky blue vasmess of the Pacific with that flash of sunlight on his visor, that best captured the exhilaration, the euphoric liberation of a species come of age. Drifting lazily on his back, somersaulting, pirouetting, perched on the gleaming titanium of Gemini's hull, White had to be coaxed back to the capsule. "I don't want to come back, but I'm coming," he said. "It's the saddest moment of my life." Tall, lanky, clean-cut, devoted to family and country, White was the ail-American astronaut. But this extraordinary athlete who had barely missed the Olympics, the solemn man with a huge smile and gentle, patient eyes, was martyred with Gus Grissom and Roger Chafee when a fire gutted the Apollo 1 module during a re-

Kepfer" Children

hearsal on the launch pad. White struggled for a sixteen-second eternity to open the hatch, only "t be found mired in a web of melted debris, his space suit fused to the floor. For three astronauts to die suddenly on solid earth at the very hub of NASA know-how, in the midst of monotonous routine, seemed as far from the romance of spaceflight as the austere military funeral-the flag-draped coffin, the widow in dark glasses, the small boy in his best coat and cap, freeze frames in a forgotten issue of Life, from that chill january day when Ed White was buried beneath a. Ilacework of bare trees on a West Point bill, His monument is neither the headstone nor the lunar crater that bears his name but the swanlike figure in that famous photo, afloat on the halo of the world. Laden like ugly ducklings with centuries of self-doubt, we looked back on the water-blue EarZh with Ed White and knew that we too were swans.

Whither i s fled the visionary gleam? Where i s it now, the glory and the dream?

Chapter Two

The Romance o r a Bygone Future

who remembe~ when sgacefiight was still a dxanr, the r e v e ~ e of redusive boys and the vision of a handful of men, Most of those who met in ardent little groups in small cafks between the world wars, planning voyages to the moon and planets that they never hoped to witness, are no longer living. And the last lonely youth to lie in a cricket-pulsing, honeysuckle night and gaze at a virgin moon is now in the laner half of his fife, On the yellowed pages of boyhood books the silver ships still poise -nosed on the craggy wastes of other worl moonscapes bathed in the stark light of some monster planet whose ring-shadowed hemisphere fills the horizon, looming beOON THERE WILL BE NO ONE

The Dream of Spaceflight

hind space-suited specks who wander across the incandescent night. The dream had burned beneath the cold and solitary vigils of mountaintop astronomers like Percival Lowell, and in the visions of lone inventors like Robert Goddard. The fantasy had fueled the science fictian of Verne and Wlls, of Sewiss and Smith and their pulp successors; it filled the monthly pages of Campbell's Astounding, the early novels of Heinlein, and the popular science of Ley and Clarke; it radiated from the covers of Fantasy and Science Fiction, the paintings of Chesley Bonestell, and the films of George Pal. It was a dream of visible planets impossibly distant, of fantastic alien surfaces, awaiting for eons the beaching of man's boats. It was a vision of steaming Venusian jungles and fine soft days on the green hills of Mars, cooled by coastal breezes from the Great Canal, looking over a far desert where mins stood half in. sand. It is not that the dream has disappeared; we may in fact be approaching a scientific watershed even more profound than that of Galileo and Newton. But with the coming of spaceflight, as with all change, there was something gained and something lost. Perhaps the public apathy

The Romance ~f Spaceflight: Nostalgia for a Bygone Future

surrounding the space program has reflected in some measure the discrepancy between dream and reality. For though more meaning may lie in one message from the Mars lander than in the most exalted fantasy, the images of spaceflight that proliferated at midcentury arose from oceanic interiors more remote and mysterious than Mars itself, The romance, in short, had a reality of its own. Acquiring its familiar outlines in the pulp subculture of the twenties and thirties, it exploded into mass culture in the late farties and early fiffies. Perhaps I will be one of the last to have known this credulous dream in pre-Sputnik form. I was seven when the first American V-2 racket roared off of White Sands Proving Ground in 1946; I was ten when it boosted a small sounding rocket across the threshold of space, and nineteen when the first al-tificial satellite shocked the world. The romantic dream of space reached its apogee in those postwar years, when the fantasy of spaceflight and the promise of reality seemed almost in balance. Into this midcentury moment stepped a few writers, artists, and filmmakers who would epitomize the dream of other worlds. Giving final impetus to a science-fibion boom

that had been trying to happen since the twenties, they educated the person in the street to the possibility of spaceflight, bringing to mass consciousness the classic dream of the modern age. Starfy Days On the Coast of Saturn

Leafing through Life magazine in the last week of May 1944, one found familiar wartime fare: ssldiers napping in foxholes amid the nxbble of Italy, American boys with their English girls in London's Hyde Park, awaiting the invasion of France, But the tide of the war had turned, and in the time beweerr Hitler's retreat and the coming of the cold war, a fresh breeze blew across Ame~ca.One sensed it in the record success of Oklahoma! with its aura of youth, hope, and new beginnings, and in the spate of plays and novels set in the sunnier days of turn-of-the-century America. But like the paradox of adolescence, torn between the security of home and the promise of the world, the new optimism often sought the simpler past within a wondrous hture. Thus that May 29 issue of Life included not only ads out of Currier and Ives and a long piece on Oklahoma!'s lyricist, but a large, singular

The Romance of Spaceflight: Nostalgia far a Bygone Future

painting, leaping out in vivid color amid black and white pages, depicting Saturn as seen from the surface of Titan, its largest moon. Since Titan is the only satellite in the solar system with an atmosphere, the giant Saturn looms low in a dark blue sky like an alien ship, a thin, gleaming crescent bisected by the glowing edge of its rings, afloat between jagged cliffs that jut from a frozen sea. Warmed by the distant sun, the rocky cliffs and scarps rise sheer into the cobalt sky, casting a dark shadow on the icy sea. There is an eerie beauty in the incongruity of light. One feels that a storm has passed on a late November afternoon, yet the sky is specked with stars. A hint of dawn lights the far horizon; and beyond a lofty pinnacle, out under the glow of the great crescent, lies a distant patch of noonday plain. The painting could pass for a photograph in the era of Viking and Voyager, but on the eve of the invasion it was one man" vision of the future, later recalled by astronauts, rocket men, and science-fiction fans as their Arst encounter with a dream about to take wing. On the same page are two smaller views of Saturn as seen &om its Eart;her moons Phoebe and Xapetus. Since neither moon has an atmosphere, the

The Dream of Spaceflight

distant Saturn floats in a black sky on the phosphorous mist of the Milky Way. The absence of haze and dust gives the landscapes such clarity, the light such purity, that rocky features remain sharp in the distance. The scene has the feel of a great indoor arena, of a room so large that one cannot see where the dark ceiling begins. The paintings were intended to show the changing aspect of Saturn as seen by a traveler hopping toward it from moon to moon. On the next page one finds a gargantuan segment of the planet as seen &om its near moon Mimas. With its stark slash of ring shadow, the yellow-banded Saturn balloons into the blackness. Sheer cliffs and jagged mesas meander the red-brown desolation of Mimas, strewn with rocks and ragged craters, stretching away to the hazeless horizon that slices across the monster Sabm. The six paintings were the work of an architect who spent nearly three decades helping to design landmark buildings across the United States. He went to Hollywood in 1938 at the age of fifty and became the highest paid specialeffects artist in the business. The notion of rendering astronomically accurate views of Satum came not only from his architedural focus on re-

The Romance of Spaceflight: Nostalgia for a Bygone Future

alistic detail but also from his skill in achieving the continuity required for matte paintings representing different camera angles on the same scene. In 1944 he took the paintings, unsolicited, to Life, which bought them immediately. Though crude images of spaceflight had been the staple of pulp covers in the thirties, the leap to a larger audience was almost completely the work of this one man. Among those who grew up in the forties and fifties and later became prominent in space fact or fiction, there are few who would not cite the art of Chesley Bonestell as a significant personal influence. His photographic realism gave the readers of Life a new perspective on the night sky. According to the best science of the time, this would have been their view had they actually stood on the moons of Samrrz. Bonestell did far the heavens what the microscope did for our perception of life, opening worlds within worlds, inviting adventure, converting points of light into real places. "You may roam about here," his paintings seem to say. "This mysterious island, fresh from creation, is made a place by your mere presence." Bonestell put tiny space-suited figures in. most of his scenes, for which one could search

The Dream of Spaceflight

like a signature, a perspective reminiscent of the sublime landscapes of nineteenth-century romantics. In painting the planets of other suns, where the setting of a red giant might span the whole horizon with an ethereal arch of deep orange fire, Bonestell expressed his faith that lightyears would not forever imprison us in the solar system; for in the late forties, even Mars seemed so remote that whoever could touch it would surely reach the stars. For those who grew up with Bonestell's painstaking accuracy in light, shadow, perspective, and scale, the reality of spaceflight seemed a foregone conclusion. In March 1946, Life published twelve more paintings by Bonestell depicting a hypothetical flight to the moon; and in the next two years, his space illustrations appeared in SdenfilTc American, Cclmnef,Pis, and Mehanix Iffutsfrated.For the October 1947 issue of Astounding Science Fiction he did the first of his many covers in that genre. But it was The Conquest of Space, a book published in 1949 with text by German rocket expert Willy Ley, that was primarily responsible for bringing Bonestell's planetary landscapes to a new generation of spaceflight enthusiast^.^ It included the paintings from Life

The Romance of Spaceflight: Nosbtgia for a &gone Future

and many more: fairy-tale landscapes laced with castlelike rocks carved by drifting dust; lava spilling over the icy cliffs of lapiter; the rocky green hills of Mars, rolling like the coast of Maine along the great canals; and on the near moons of enormous planets, knife-edged peaks and needles of rock stabbing into a star-filled sky. Together, the scenes suggest a kind of cosmic shoreline, a composite of stark and eerie beaches on the near edge of the stany deep. It is not surprising that the most popular of Bonestell's paintings, the view of Saturn from Titan, resembles a rocky coast in the frozen reaches of the far north. For the image of the beach is not incidental. Like the dream of spaceflight itself, the appeal of The Conquest of Space, which went through four printings in the first three months, owed much to the archetypes of the seashore. My discovery of that book on Christmas night of 1950 had an impact very similar, in fact, to my earliest memory of the beach. The Only Real Place I was four years old in 1942 when the army sent my father to Fort Ord on California's Monterey

The Dream of Spaceflight

Peninsula. We left a dreary flat in the gray mist of San Francisco for a sunny cottage near the cypress-lined, white-sand beaches of Carmel. As if to ritualize this rebirth, my mother took me for a walk that wound through a dark grove of those great brooding cypress-leaning and reaching with their gnarled, windswept limbs, growing ever more foreboding-until the path opened suddenly onto a long stretch of pure white sand and a vast expanse of silver-blue water that sparkled and shimmered to the edge of the world. It was my first waking encounter with the Pacific Ocean. X ran barefoot over the hot sand, stopping at a safe distance to gape at the bellowing breakers, feeling the cold foam on my feet. As vivid still as the smell of ice plant on the dunes, it is a moment burned into memory, like an astronaut's image of Earthrise from the shares of the moon. We went often, through the dark trees to the sunlit beach. I built sand castles while my mother sat on the grassy bank with the salt-kelp breeze in her hair, watching boat specks on the horizon. Her death, shortly after we left Camel the following year, seems to have merged my sense of the mother with that of the ocean-Grecnt Mother of

f i e Romance of Spaceffight: Nostalgia for a Bygone Future

all, mystery of origins, milk of the world; the Good Mother, nurturing a silent undersea fantasy of living things; the Dark Mother, swallower of worlds, the black sea-boRam of death ibelf, ske Titanics, digesting Atlantis and Lemuria. The epilogue came a few years later at a summer camp in the high mountains. I awoke one night in a sleeping bag under a wilderness of distant worlds, recalling Asimov's story about a planet with six suns, where "Nightfall" occurs but once every 2,050 years and the sudden appearance of a soul-searing canopy of stars plunges civilization into chaos. Gazing out into the immense ocean of light I reexperienced my encounter with the Pacific, though there was no odor of ice plant on the breeze, no sound of breakers nor wind in the cypress, only the silence of those trillion worlds, waiting, eyes within eyes, coming through a million lifetimes to meet mine-which glanced away, struck with what we all come to know: that each of the unfathomable immensities-Mother, Ocean, Death, and Stars-share the barrier betwreen known and unknown, enfolding the familiar world like the preColumbian gods and monsters, bounding all beginnings, all ends, all meaning.

The Dream 05 Spaceflight

Perhaps it was gods and monsters, not gold and glory, that inspired young Cristoforo Columbo on the shores of his boyhood Genoa, gazing out on a sea that encircled the kn world like the night S fathomless enigma, fading off into forever. Men once looked out over the melancholy wilderness of water as we now look to the stars, knowing it to veil some great mystery of unknown size and origin. Though the sea no longer bounds the universe, it remains a vast, inscrutable presence, growing darker and deeper in the distance, the darkness of a world before man, unchanged through eons of continental evolution, yet ever restless, relentlessly pounding the land, through all lifetimes. The msh of the surf echoes the ancient Earth-the wind in the once great forests, the thunder of free-running he alone remains truly free, the last untamed remnant of Earth's tempestuous youth. And out beyond the breakers abides the silent face of the Great Mother, an effervescence of light, flashing like countless suns. Though the archetype of the ocean shapes the aura of Bonestell's paintings, the root metaphor is more precisely the shoreline itself. The interface of known and urzknown, civilization and

The Romance af Spaceflight: Nostalgia fair a Bygone Future

wilderness, conscious and unconscious, the beach is that narrow band of equilibrium where the city meets the sea. To go down to the seascented shore on a cold, gray day and wander amid the wrack and debris of both worlds, to sit on a half-buried whiskey box, watching the birds dip and hunt with their small sad voices, is to enter sacred space, to walk the razor's edge between time and eternity, matter and spirit, isolation and communion. The seashore is a sanctuary, the eye of the storm, where our polarities are momentarily balanced. It is where the temporal realm of the hot street-even the rundown hot-dog stand-is bathed in transcendent energy, touched by the breath and pulse of the sea. The transformation is reciprocal. With each mortal breaker the eternal sea dies a momentary death, descending into time as it licks the sands to the soft cries of gulls. Yet the beach is a place of rebiflh, where each wave erases the tracks of life and time, leaving the broad sand flats gleaming like glass. It is a place where false selves are shed and companions transcend their separateness. It is a holy place, perhaps the only real place.

The Dream of Spaceflight

Islands at the Edge

The same paradoxic polarities are at the core of Bonestell's appeal. To feel the lure of the seashore is to know why the near planets still beckon, even when the hope of inhabitants is lost. By 1950, humanity itself had become the city on the shore of the cosmic oeea growing cancer of disconnected egos living in the shadow of the bomb. For an eleven-year-old awakening to that larger reality, the barrier between kn and unknown f rst encountered on the coast of Carmel now became the pristine beaches of Bonestell's planets (it is fitting that Bonestell himself lived in Carmel). Like the seashore, his alien landscapes domesticated the transcendent while elevating the mundane, familiarizing the mysterious and mystifying the familiar. His most popular painting, the view from Titan, with its giant Saturn afloat in a blue sky over sunlit peaks, seemed the ultimate marriage of strange and familiar. In the hidden hea& of science Action had aliways been the hope that the moon and planets promised a personal adventure akin to my encounter with the Pacific-a transitory, enchanted moment when man, like Fitzgerald's Dutchmen,

The Roman% of Spaceflight: Nostalgia for a Qgsrtie Futufe

would hold his breath before the fresh green breast of some radiant new world, At that moment, the cosmos would become a place. This was the promise of Bonestell's beaches---that those peaceful points of light in the night sky are places, that virgin rocks, asleep for a billion years, await my touch no less than the cup that sits here before me, that there is a "transcendent mundaneness" abiding in parallel time and space, one that somehow merges the cosmic and the personal. A Bonestell moonscape is a sacred place at the edge of the known world-an altar set before the barrier, a piece of the mundane bathted in oceanic mystery. We think of the boundaries of the known, the outer rim of our reality, as somehow harboring the answers to our "Why" questions. Whether it be Aristotle's geocentric spheres, Colurnbus's ocean-sea, or our own space-time continuum, we conceive of this Larger Context as ultimately separate from and alien to our everyday experience simply because it is assumed to mask the unknowable, the meaning of all meaning, as inaccessible to us as cosmology to an ant. To encounter the blue skies of Bonestell's Titan, or to find that the reddish, rock-s&ewn desert of Mars

looks hauntingly like the American Southwest, suggests that the near edge of the Larger Context is a reality as familiar as our own backyard. just as the beach is perceived as the edge of an othewise boundless sea, Bonestell brought the edge of infinity out of the abstract and into the realm of direct experience. The two realms, abstract and direct, are quite different. In one, red is a designated wavelength of light; in the other, red is a color. In one, the Earth rotates an its axis and revolves about the sun; in the other, the sun rises and sets. The photographic realism of Bonestell's cosmic beaches brings the realms together at their point of tangency, allowing one to experience the heliocentric reality from a geocentric perspective, giving the Larger Context a tactile immediacy. The paintings had a disorienting effect, similar to that experienced by astronauts seeing Earth from the moon. Standing beneath the blue swirl of Earth, said Gene Cernan, "I had to stop and ask myself, 'Do you really know where you are in space and time and history?'" To believe, with a foot in each world, that one can retain an earthly reality yet stand an another ground under another sky has the transforming impact

The Romance of Spacefligfit: Nostalgia far a Bygone Future:

of an out-of-body experience, or an encounter

with the doppelgtinger, a duplicate self. The lack of inhabitan& allows Bonestell3 barren astroscape to become an extension of oneself. The image suggests a colossal stage set or a giant playroom, a toy world of one's own. There is a timeless stasis about these bright islands, offering safe passage through the void as one might ride a cozy car through the Tunnel of Horror. A virgin purity, untouched by everyday life, not only makes the place one's own but beckons in the way that tiny islands lure the canoeist. The scenes, like the islands, invite one to become a world unto oneself. It is the narcissistic fantasy of infusing whole societies, planets, or universes with one's own nature and agend sence of personal limits. But unlike the way of the mystic, the ego is not sacrificed; it is merely romanticized. For Bonestellsslandscapes, like the canoeist's island, remain pieces of the real world, filled with those craggy shadows, hidden caverns, and pristine horizons that are natural to the romantic imagination. Such romantic flights from personal limits were more than the marks of innocent youth. For as long as spaceflight was far from reality, one could

The Dream of Spaceflight

immerse oneself in the subject with the intensity and resolve of real exploration--the exhilarating sense that one stood very near the leading edge simply by combing musty libraries or gluing balsa models in a cluttered garage. Such mundane pursuits seemed to merge with the ultimate quest and adventure on its realistic timeline. Lying in the hammock and gazing at the moon, viewing the larger craters through Dad's b i n o c u l a r ~ oclose, yet so impossibly remo rxe reached another world by the same means to which even the most heroic advenmrer was then bound. Yet one took the risks without leaving home, gained the world without losing the soul, pursuing the real adventure in a context as warm and secure as reading comics in bed while mother nursed the common cold. For space travel, like all mythic visions, was paradoxic, containing at its core the very polarity peculiar to most adolescent males. The parental w o m b t h e inner solipsistic world of childhood-became the secret spaceship, while the external world was removed to outer space, where one's omnipotence was safely assumed. One eluded the looming world of adult responsibilities, the messy arenas of peer conflict and opposite-sexed enigmas, withdrawing to a

"Fe Romance of Spaceflight: Nostalgia for a Bygone Future

larger realm that encircled those lesser things. There one finds Bonestell's planets inhabited by other childlike beings, or by benevolent and omniscient Cosmic Parents. Substitute for the parental womb the technological society, where the illusion of infinite leverage compensates for a state of abject dependence, and one has an inchoate hypothesis with which to explain the rise of sdence fiction itself over the past century. Befare I sentence all science-fiction. fans ta schizoid adolescence, however, I should note not only that all neuroses merely exaggerate facets of normal behavior but also that the progressivelregressive polarity is common to all transition, individual and colle~ve.The adolescent is in fact a microcosm of the modern condition, wandering the beach between two worlds. His isolation is that of humanity itself, a species cut off 1Fram its baditions, its instincb, its animal forebears, even its home planet, while riding the momentum of history like a runaway train. Ironically, while Bonestell's island beaches are stepping stones to the discovery of higher life, they also intensify this sense of isolation. Looking out over the ocean or gazing back on the home planet, one feels the solitude of humanity,

The Dream of SpaceflipS7t

a species cast up from the ancestral seas and forests, standing alone at the leading edge, like an old man who has lost all those from whom he issued. just as whole cultures reach a zenith of awareness and creativity when old and new are in polar tension, so awareness itself may be the product of the "bicameral mind," the hemispheric tension which allows the stereoscopic, three-dimensional thinking that is consciousness. This reflexive self-awareness, the ability to think about thinking, differentiates us from other animals. It is the source of all good and all evil, all cruelty and all compassion. It is this reflexive tension that pervades the shoreline, terrestrial or cosmic. It is the fragile polar balance that defines the human condition, bringing both heightened awareness and the concomitant solitude of separation. On the beach, faces flicker in the firelight--creatures marooned on the shores of evolution, gathered to mourn and to celebrate their foss of innocence.

In one of Bonestell's paintings for ihe Conquest of Space, a sleek silver rocket towers on its gantry

The Romance of Spaceflight: Nostalgia for a Bygone Future

against the stars. Men move about in light and shadow as though huddled around a great silver flame, a signal fire warming the night at the edge of the cosmic ocean. In a second painting, the same ship rests on its fins in a valley of the moon against black sky, sunlit mountains, and the distant Earth. Light radiates from the hatchway as the crew explores the site, a rugged outpost on the frontier of evolution. In the hearthlike glow of these scenes lies a communal longing, life reaching out for some indiscernible secret, some wormhole to the long forgotten Source, the heartsong of creation. The paintings, along with additional moonscapes, became the basis for visual effects in Destination Moon (1950),the film often credited with launching the cinematic science-fiction boom of the fifiies. Film historians traditionally note that Dest.r"nationIMoon was the first science-fiction Aim worthy of the term since Things To Come (Britain, 1936) and that its success led to the boom that followed. Written by Robert Heinlein and Rip Van Ronkel, directed by Iwing Pichel, and produced by George Pal, with panoramic matte paintings by Bonestell, Destination Moon depicts a trip to the moon, true in almost every detail to

The Bream 05 Spaceflight

the scientific projections of the time. The result is a docudrama surprisingly close in particulars to the flight of Apollo 11 nearly two decades later. Although it was Eagle-Lion's top moneymaker for the year, earning enthusiastic reviews and an Oscar for special effebs, the film has not worn well. Film historians lament the absence of plot, women, and depth of character, dismissing the film as dated and dull. The problem with this kind of film history, of course, is that it lacks historical perspective. Not only do many film critics seem bound to secular realism, but most of the writers are too young to have seen Destination Mori when it was released. When the long silver ship set down on the surface of the moon and the crew descended in silence, it was as though irrelevancies dimmed and essentials came clear. Viewing the first realistic depiction of a visit to another world (also the first in color) had an effect similar to the televised landing of Apollo, or to the dazzling NASA footage projected onto the five-story Imax screen in Blue Planet (1990). The one previous attempt at an accurate representation of space travel, Woman in the Moon (Germany, 1929), was far less compelling, not only because its moon se-

The Romance of Spacefli@t: Nostalgia for ai Bygone Ftlture

quences reverted to fantasy but also because it was silent at a time when most films had incorporated sound. The degree to which Destination Moon escaped hack concessions to Hollywood formulas is a credit to Heinleiut and Pichel. Wth the help of Bonestell and Pal they conceived a prophetic film, an ode to the romance of spaceflight that retained, even in its pedestrian moments, an aura of transcendence, But was it responsible for Hollywood's spate of science-fiction films? In huth, the producers of almost all of the significant SF films released in its immediate wake had conceived their ideas and purchased their properties prior to the contracting of Destination Moon. Along with the surge of SF magazines, the notion of filming serious science fiction was in the air in the late forties. Although the optimistic and visionary Destination Moon was virtually first in the cycle, its impact was confined to demonstrating that expensive SF could be profitable.2 Most succeeding SF films fell into the Gothic mode, embodying the mutated monster and evil alien themes of King Kong (1933; rereleased in 1952) and The Thing (1951). In the end, Destination Moon was less a beginning than a culmination. Epitomizing that bal-

The Dream of Spaceflight

ance of fantasy and reality that charaderized the dream of spaceflight itself at that transitional moment, it was the confluence of three fiistodc careers: Bonestell, the first realistic space artist; Heinlein, whose gritty realism depicting life in space had made him the first science-fictionwriter to break into a mainstream magazine (with his Saturday Evening Post stories in 1947); and Pal, the fint science-fic2-iionfilmmaker to show concern for scientific credibility. Pal's bias toward realism had been evident in his Puppetoons, which were not only the first socially minded cartoons but also first to use stop-motion photography of real figures in place of animation. Pioneers in fantasy and innovators in realism, the three men surfaced at a Gme when the developing facts of spaceflight had begun to reshape the nature of the dream. Destination Moon perfectly bridged the romance of the dying pulps and the coming realities of Apollo. After Destination Moon, in fact, spaceflight on film suffered a fate similar to that of the real thing after Apollo. In the public mind, the deed had been done. Pal retreated to traditional science fiction, turning first to the destmction of the Earth, in which the same sleek ship from Destination Moon became a plane-

The Romance d Spaceflight: Nostalgia for a Bygone: hture

tary Noah's Ark (When WorIds Collide, 195 1, with artwork by Bonestell), then to alien invasion (War o f the M I ~ r l h 1 , g=), time travel (Ihe Erne Itlacfiine, 19601, and finally back to fantasy from whence he mme, Pal tded a second doeudmrna (The Gonquest of Space, 1955), but its success fell short of Destination Moon to about the same degree that public interest in the space shuttle fell short of attention to the moon landing. Heinlein attempted another script (ProjectMoonbase, 19531, expanded from an unsold W pdilot and rewritten by the producer, with results that forever soured Heirzlein on Hollywood. His later books, like Pal's films, moved away from the pure extrapolative realism of earlier SE Bonesklf, on the other hand, moved toward the emerging realities with his illustrations for Wemher von Braun" famous ColIierh~cIes in the early fifties. Thus the romantic vision receded with Desitinaf-ionMoon, where it abides like an old dagueneotype, the finest and final hour of a dream now faded and transformed.

Perhaps the images of unencumbered human flight that preceded the realities of the airplane

The Dream of Spaceflight

included winged torsos hovering high above trees and houses, soaring like eagles over hill and forest, swooping like hawks down rivers and valleys. During the first half of the twentieth century, the romantic vision of coming adventures in the solar system compared in spirit to just such reveries. The depersonalized, mechanical reality of astronautics was never a pad of the dream. When we finally went to the moon it was not on a wing and a prayer but on a pyramid of mathematics and technological expertise. Every move was part of an exhaustively detailed script. Should the left or the right hand pick up this piece of equipment on the moon? Should the knuckles point up or down? With simulations more novel and rigorous than the actual flights, the moon's only surprise was that it held no surprises. In our business, said Apollo 11 astronaut Mike Collins, "boring is good because it means that you haven't been surprised, that your planning has been precise and your expectations matched. "Adventures," said polar explorer Amundsen, "happen to the incompetent." What faded in the years following Sputnik was not the dream itself but its na&e forms. The astronomical interests of most rocket pioneers were

The Romance d Spacdlight: Nostalgia for ir Bygone Future

superficial, romantic, and unscientific, while few professional astronomers took spaceflight seriously. Even rocket research had once been romantic. Robert Goddard's telemetry in Rbroswell consisted of a pair of binoculars, an old alarm clock to drive a recording drum, and Fsther Goddard's movie camera. She was photographer, secretary, and parachute seamstress, among other titles. It was an intensely personal quest. Goddard and fellow rocket pioneers Konstantin Tsiolkovsky and Hermann Oberth all devoured the science Eidism of Vemne and Wells, with Oberth's interests extending even to the occult. Like the masses who panicked during Orson Wellesk 11938 ""MTar of the Worlds" "broadcast, early spaceflight enthusiasts not only took seriously Percival Lowelf's insistence on Martian canals but envisioned a lush, tropical Venus and solid, surrealistic surfaces on the outer giants. Drawing on the primitive state of astronomy, pulp fantasies seemed to confirm that if one could sornehw hurl oneself off the Earth, one would encounter myriad yellow brick roads to an infinity of Emerald Cities. Today the moon and planets are not only inhospitable but have undergone a certain de-

sacralization. The romantic, mysterious, inaccessible moon that made the water silver, the swollen tangerine Allegheny moon, the "ghostly galleon tossed upon cloudy seas," the moon that only cows in nursery rhymes could jump over-that moon is gone. The once holy ground of myth and magic is now a barren, hostile desert. It has been suggested that there are seven zones of human experience: (1) the area of sensation immediately touching the skin, (2) the area within tvvo or three meters in which most social interaction takes place, (3) the maximum area of social interaction, reaching out a few hundred feet, (4) the area that extends as far as one can see or othewise gather information from any one location, and (5) an irregular and varying area made up of all the zone-four areas that a person experiences during a lifetime. Beyond these five natural zones are two conceptual constructs: (6) the surface or biosphere of the Earth and (7) the universe as far out as one can conceive.4 Our extravefied, NewZonian. culture has viewed the outermost zone as the realm of transcendence, the literal focus of ultimate answers to all our "Why" questions. In the course of one lifetime, this zone has expanded at least

The Romance of Spaeefiight: Nostalgia for a Bygone Future

three-hundred-thousandfoldd.With the discovery in 1921 that our galaxy was not the sum total of existence, the solar system moved from zone seven to zone six. In the new cosmos, the planets seem to lie less on the near edge of infinity than on the far edge of the Earth. Yet just as the beach is bathed in the aura of the sea, Bonestellfsplanets could still symbolize that unfathomable immensity. It was not until we viewed the Earth from space, left our spoor on the moon and M m , and intruded on the timeless solitude of the outer planets that we began to experience what we had known. The rolling gray lunar hills have belied the jagged, craggy wonderland of Destination Moon; and the rocky red desert of Mars is more like a spherical New Mexico than the home of Wells's doomsday machines. Now a part of "where we are," of zones four and five, given the disorienting impact of electronic media, they become Grayrock lunction, Redrock Corners, and Gasball City, associated less with the Land of Oz than with Steinbeck's flat-country truck stops--those dilapidated diners with a gas pump in front, where flies strike the screen door with little bumps and drone away.

To conceive of the transcendent requires a symbol. One cannot worship "God" word, a vague feeling, an intellectual abstraction; one needs an image: jesus, Buddha, a bearded man in the sky, a painting, a statue. Yet the natural tendency is for the image to literally become God, and the larger, elusive feeling that empowered the symbol fades, eclipsed by a host of this-worldly connections. Finally demystified, the statue reverts to its status as mere artifact. Thus every symbol contains the seeds of its awn desacrafization, The millennial nature of Christian tkieology generated the idea of spiritual progress, which sp notion of salvation through success in this world, which led to the secular idea of material progress, which in turn began to desacralize Christian theology. The last stage of this process is fundamentalist dogma, in which symbols have lost their numinosity and have degenerated to mere signs. The Gaflesian-NeWanictn wOX"IdVjm, which has deferred its "Why" questions to the empirical edges of space and time, faces a similar cycle. Like the in~~truments of Christianity, discoveries at the leading edge of science desacralize the very things that compelled the quest in the first place. The sense of wonder surrounding those

The Romance of Spaceffigt.lt: Nostalgia for a Bygone Future

objects suffers the fundamentalist fate: the mythic moon becomes a wilderness of cinders and ash, and the red star of evening becomes a barren, rocky desert. The bright light of science dissolves the mysteries that animate its objects; the observer afters the obsenred, and the aura of wonder recedes with the horizon. We pine for the lost images demystified by modernity, and the innocent dream of spaceflight joins the romance of the railroad in coffee-table nostalgia.

Now that we have touched a heavenly body, the rockets themselves no longer seize the imagination. In a field near the Houston Space Center, the last Apollo lies like a beached whale amid a trickle of visitors. It was once enough merely to escape the Earth, but now the core motive comes clear: cosmic communion. "Even the traveler's mind," wrote a post-Apollo poet, "now shoots quicker than a gecko's tongue beyond the sun for the sweet stars, thrilled by demons, by impossible virtue and impossibly wise old men."$ Like Bonestell's planets, the moon was once as remote as the stars; just to stand on it would un-

The Dream of Spaceflight

mask the riight sky, rendering the whole cosmos as accessible as the worlds of science fidion. But the realities of reaching the moon drove science fiction h l n the "hard, " mechanical extrapolations of De.rtination Moon to the "soff" phantasms of 2001, ET., Starman, Cocoon, and Contact. Forced inward to the promise of Christlike aliens, paranomcxl realities, and mystical resurrections in space, science fiction no longer pretends to paint the near future. Perhaps the new dream is less naive than the old. Aflhur Clarke has noted that we tend to overesfimate what we can do in the near hture and grossly underestimate what can be done in the distant future. This is because the imagination extrapolates in a straight line, while real events develop exponentially, like compound interest. Perhaps communication is not limited by the speed of light; perhaps there are "wormholes" in space-time; perhaps we will receive some mind-altering message from superior beings. Such hopes were the subject of Clarke's 1968 film 2001: A Space Odyssey, the first film of any consequence about spaceflight since Destination Moon, and the only other such film scripted by a major science-firrtion writer.

The Romance of Spacefli&t: Nostalgia for a ESygone Future

2001, in fact, capsulized the transition from

the old dream to the new. When the ape-man spins his bone tool into the air, where it dissolves to a wheeling space station complete with pay phones and a Howard johnson's restaurant, the message is that the colonization of space will be no more than an extension of man's tool-making nature. In the first half of the film space is presented as essentially more of the same, a bland, anonymous world set to the "Blue Danube" waltz, a Howard johnsonfs in the sky where means remain ends in themselves, The second half of the film moves from the "how" of spaceflight---the rockets, space stations, synthetic foods, and supersophisticated computers--to the "why," symbolized by the inscrutable aliens who transform the astronaut into the mysterious starchild, drifiing toward Earth to be born. The two halves of the film depict the shift from the old dream, terminating in the simple act of escaping the planet, to the new dream of discovering some clue to our meaning and destiny, of finding life, and of launching the long joumey in which man may evolve into a new galactic species. What, then, is the lure of the near planets? Why dedicate a life to a landing on Mars? Like

The Dnam of Spaceflight

the spice islands envisioned across Colurnbus's ocean-sea, Mars was once the mystery of the cosmos incarnate. Now it is only the near edge of the night sky. Yet the red sands of Mars, now part of our reality, still lure us to the shore of the cosmic ocean. Although Mars is no longer shrouded in mystery, it remains what Hannah Arendt called an "Archimedean point" (it was Archimedes who said that with a long enough lever and the moon as a fulcrum he could move the Earth). Applying the term to the tendency of modem science to substitute its heuristic constructs for direct experience, Arendt suggested that man increasingly encounters only himself. Viewing spaceflight as an attempt to reach a literal Archimedean point, one that must always require a still further point, she saw the leap into space as a flight from the human condition, But as the vision animating all forms of exploration and discovery, the Archimedean point is the human condition. Physicist Philip Morrison tells a story about the Bushmen of the Kalahari, Africa's last society of hunter-gatherers, who forever move about the desert, c a v i n g what little they possess, living in bands of extended families, each staying within

The Romance of Spaeefli@t: Nostalgia f o a~ Bygone FNvre

a region about the size of Los Angeles County. They meander through life, "stopping now here, now there, to sleep in a kind of nest, to try the h i t of this tree, to scratch up that waterhole," or to meet for a ""lritualencounter with their wandering friends." Their wants are so well controlled and their skills so well developed that they need not work any harder. Their one need, as they wander through the cool mornings, the cool evenings, and as they rest in the heat of t-he day, is to know exadcly where they are. They dismss it always. They note every tree, they descfibe rrvexy rock, They recognize evev feature of the ground. They ask how it has changed, or how h r it has been constant, What story do you h o w about this placd They recall what grandfather once said about it. They csnjedure, and they elaborate; their minds are filled; their speech elaborafes exactly where they are. 'u'ou see they have built an intensefy detailed, brilliant, forever reinvigorated internal model of the shifting natural world in which they find their being.

Monison suggests that our language, myth, ritual, tools, science, and art are all symbolic expressions of a "grand internal model" that every human makes, and that is always in need of completion.

The Dream of Spaceflight

The essence of human exploration is the attempt to fill in the margins of that model so that it will not "fade off into the nothing or the nowhere."6 All such terms-Arendt's Archimedean point, Morrison's grand internal model, space writer Frank White's ""overnew eEeCt" the reflexive thinking that is the hallmark of our species. If the essence of exploration is to touch the boundary-the beach, the mountaintop, or the moon-the core of the human condition is the attempt to see the self in context. To stand on the moons of Sahm and see the Earth in perspedive is to act out the unique identity of our species. f i e Star mrower That it is humanity's fate to live alone at the leading edge was a point often made by evolutionary biologist Loren Eiseley. In "The Star Thrower" he describes a wave-beaten coast, littered with the debris of lifeupended timbers, "sea wrack wrenched from the far-out kelp forests," and long-limbed starfish strewn everywhere, "as though the night sky had showered down." A hermit crab is tossed naked ashore, "where the waiting gulls cut him to pieces."

The Romance of' Spacef\i@t: Nostalgia for a &ygone Future

Along the strip of wet sand "death walks hugely and in many forms. Even the torn fragments of green sponge yield bits of scrambling life striving to return to the great mother that has nourished and protected them. " In the end the sea wjeas its offspring- They cannot fight their way home through the surf which casts them repeatedly back upon the shore. The tiny breathing pores af st-arfish. are s-tuffed with sand. The rising sun shrivels the mucilaginous bodies of the unprotected. The seabeach and i b endless war are soundless. Nothing screams but the

Among the competing collectors, clutching their bags of beautiful voiceless creatures, was a human figure framed beneath a distant rainbow, spinning starfish far out over the surf. The star thrower, "whose eyes seemed to take on the far depths of the sea," represented for Eiseley the furthermost reach of humanity. Shipwrecked on the shores of evolution, he is unique in his compassion. He is the catcher in the rye, protecting the innocent from the abyss, doomed eternally to explore the margins, chasing his refledion down an infinite regress.

Like the immigrant wife, alone on the howling Kansas prairie with her Sears catalog and her secret dreams, those who seEle the red sands of Mars will h o w that some of their roob must die on that banen shore. Gazing back on the soft blue dot in the Martian sky, perhaps they will dream of dance music dlifting over a moonlit lake, of twilight talk in a turn-of-the-century town, or the dark wet soil of the sunflower forest from whence we emerged like life from the sea. But pioneers on the plains of Mars will no longer debate whether that pale blue point is the center or the edge, for the center, as roseph Campbell has said, will be man himself, finally aware that he lives in the stars. The imperative to see the self from afar, to see the present from some external point in the fut-ure, is neither Promethean, as Nevvtonians assume, nor Narcissistic, as Arendt suggests, but closer to the task of Sisyphus, who was condemned to roll the rock up the hill only to have it roll down and eternally begin again. For the succession of Archimedean points---whether metaphoric, as in art, or literal, as in science and exploration-spirals through history. Though we return always to the same point, there is a new perspective with each cycle, and we seem to

The Romance of Spaceflight: Nostalgia for a Bygone Future

know the place for the first time. The process is unending, but we are process; and our soaring aspirations are finally cathedrals of the mind. For latter-day Argonauts to return with the poster of the whole universe would in fact be a form of idolatry. Were we to awaken from the dream of space-time we might long for some eternal star thrower to return us from the center to the edge. For it is not the treasure but the voyage itself that is the central project of our species. Again and again we come through the dark trees to the Pacific: the lookout on Pinta, spying a hint of white sand cliff in the moonlight; Amundsen, on a bleak, windswept plain of ice, reaching the pole with his few suwiving dogs; and Apollo 8, in the hush of Christmas Eve, floating over the mountains of the moon. This was the promise of Bonestell's vision, that people from Earth would one day flow into the ancient river valleys of Mars, down the gorges four miles deep, out over desolate, wind-torn plains, out to the ice seas of Europa, the yellow skies of Titan, and the Great WalI of Miranda, out into the ocean of light, to those worlds within worlds where the star-children wait.

W shall not cease from explom"cion And the end of all our exploring Will be to a ~ v where e we started And know the place for the first time. -T. S. Eliot, "'Linle Gidding3'

Chapter Three

Seeking the Center at the Edge

o ~ s ~ONo THE LAUNCH PAD and towering thirty-six stories against the stars, the ApolloSaturn rocket seemed unearthly in the wash of floodlight, glowing icy silver-white, like the moon above it. A half-million pilgrims had made their way to the mosquitoed marshlands of Florida's Menitt Island, spending the night on the beach in cars, tents, and trailers, awaiting the early-morning launch that would put man on the moon. Along the grassy dunes and desolate moors, onlookm stood in the soft whine of the night wind, the children of four hundred million years of land creatures on this planet. Life, which crawled out of the sea those eons ago, would now climb out of the white-capped ocean

of air, cling to a barren rock, and fall back to earth, For one bdef moment, we would be creatures of the cosmic ocean. The lure of the night sky is older than the voyages of Jules Veme, older than Greek tales of winged flights to the moon, older even than the pyramids, which were aligned with the pole star so that Pharaoh might reach it in his sky-traveling boat. The call of the cosmic ocean haunts the high mountains and remote seashores, where the misty river of the Milky Way arcs across a fathomless dome of sand-grain stars--the vacant stare of creation, lying ever behind the painted face of day. "Some part of our being," said Car1 Sagan, "knows this is from where we came. We long to return."' Like those pilglims camped along the beach, listening in the night to the pulse of creation, we live on the shore of the cosmic ocean, riding our wisp of blue and white like mites on a floating leaf, in the whorls and eddies of a great galactic reef. Adriff like an ill-fated liner with her lights ablaze in the North Atlantic night, the lilt of her music faint on the icy wind, we are the ballroom innocents of Spaceship Earth-frail seed of life itself, afloat for an instant on the surface of forever.

Seeking the Center at the Edge

A Wondrously Beautiful Thing

Apollo-Saturn is silhouetted on the horizon against a dawn sky, visible across dreary flatlands that stretch easmard to deserted launchpads along the sea. The landscape recalls settings from old science-fiction films-the lonely stretch of desert road under a bleak sky, the gray impermanence of brooding seacoasts, stark lunar surfaces-metaphors for the homelessness of modern man. Apollo 11 seems in fact the consummation of modem history-the ultimate hubris, the last great phallic act of Faustian culmre, On its altar of steel and concrete, the Saturn V rocket is the icon of infinite force and

mastery, man's collective erection, built to seed the cosmos, It is the hotrod of an adolescent species bent on tearing itself from Mother Earth, bolting the Garden without God's consent. On Pad 39A, vapors stream furiously off the side of the ship, loaded with enough fuel to fill ninety-six railroad tank cars. Sixty feet taller than the Statue of Liberty, an aircraft carrier set on end, the three-thousand-eight-hundred-ton ApolloSaturn, with its fifieen million individual parts, is more finely tooled than an exquisite watch.

The Dream af Spaceflight

Perched high atop this cylindric skyscraper, the astronauts lie patiently through the countdown. Were the bomb beneath them to explode, the ball of flame would consume two-thirds of a mile, with a rain of debris eight miles wide. "Tminus fifteen seconds, Guidance is internal. Twelve, eleven, ten, nine, ignition sequence starts, six, five"-the voice of public affairs officer lack King comes through the loudspeakers at the Cape and half a billion television set one, zero, all engines running. Liftoff! We have a liftoff, thirty-two minutes past the hour." Orange and white billows of flame gush out hundreds of feet over the ground, engulfing the base of the ship. Four twenty-ton restraining arms release room-size grips, exploding away with a rain of ice that has formed on the liquid fuel sebions. The automatic camera on the gantry tower records a great white wall beginning to rise-inches, feet, two vertical black stripes forming a U, then S, A, passing rapidly now, followed by a wall of fire, lifting six and a half million pounds, gulping fifteen tons of fuel a second, the eighthundred-foot tail of flame whipping white-hot as the sun. Consuming as much oxygen at the moment of liftoff as a half billion people taking a

Seeking the Center at the Edge

breath, cooled by water cascading at fiQ thousand gallons a minute, the Saturn V rocket rises with the force of a hundred thousand locomotives, burning five million pounds of fuel in the first 150 seconds, getting a full five inches to the gallon. Six miles away, beyond the steamy banks of the Banana River, the million spectators who watch the titanic ship rise, shimmering in dreamlike silence, are suddenly hit by the sound leaping across the lagoons, a cataclysmic roar so intense that some go numb for a moment--a relentless shock wave beating the face and chest. rattling cars; wave upon wave of thunder louder and deeper than any thunder ever heard; and a crackling vibration that pierces the body again and again. Crude, fearsome, catastrophic, it is the sound of the biggest engine there ever was, a monstrous jackhammer that seems to shudder the entire planet. One holds one's eyes and ears, but it seems that even the skin can hear. The ship bores up through the blue sky like a comet and soon disappears, leaving only the laconic space talk on the loudspeakers to confirm the reality of a wondrously beautiful thing that has vanished,

The Dream of Spacenight

Three years later Apollo 17, the last of the moon flights, rode a pillar of fire that turned the night sky orange-pink, a false dawn visible for five hundred miles. In the stands awaiting the launch that night, historian William Thompson saw lighming flash in the distance "like the boasting threats of a small boy backing away from a fight." Humans, he mused, "were turning the tables on the heavens and riding that comet out of earth." The shock waves from Apollo struck microbarographs at Columbia University with a force exceeded, in fact, only by the eruption of Krakatoa in 1883 and the impad of the great Siberian comet in 1908. "Man," wrote Norman Mailer, "now had something with which to speak to GodefF2

Searching the Media for Intelligent Life Critics complained that President Kennedy was less concerned with God than with a small, round, beady-eyed man named Khmshchev and that the $24 billion car-rattling comet was but an alternate means to Russian humiliation, seized upon only after Kennedy learned that American science would be unable to desalinate the sea. Muckrak-

Seeking the Genter at the Edge

ing journalists relish such revelations, less from cynical realism than from an adolescent resentment of autholity, a paranoid envy of power that sees all history as a political circus. Yet the moon shot could not succeed as a tactical ploy if the feat itself were without inherent meaning. In the end, Kennedy's politics explain only the timing, not the larger motive for going to the moon. Others complained that the money spent on Apollo should have gone to health and welfare, a naivete often bound to a parental universe where evil is not inherent in human namre, no one is faulted for his own fate, and the risk-free society eludes us only for lack of lowestcommon-denominator education, fiat money, and comminees of honest men, If we are denied a reasonable responsibility for our own entitlement, and if conflict and inequality are seen not as inevitable to the human condition but as symptoms submissive to legislation, then a collective hypochondria begins to consume our larger visions. Life degenerates to an immediacy in which means become ends in themselves, and the crowning purpose is an animal sense of wellbeing. It is a world without awe, diminishing and trivializing all that it touches.

The Bream of Spaceflight

The postured carping of the critics persisted even though the annual cost of Apollo was only 10 percent of that spent on health and welfare, 4 percent of the military outlay, and one-third of what Americans spent on alcohol or cosmetics. We bet more in a single year on horse races than on the entire Apollo project. But the distortion is no surprise in a custodial society where the mythic is so mired in cynical pragmatism that 15 percent of those polled believed the moon shots were faked. Perhaps the disenchantment is that of a nation entering middle age. "The youth," wrote Thoreau in his journal, "gets together his materials to build a bridge to the moon, or, perchance, a palace or temple on the earth, and, at length, the middle-aged man concludes to build a woodshed with them." Yet the complaints about man on the moon were often no less inane than the apologetics, which ranged from prestige and power to Teflon pans, pocket calculators, and powdered orange juice. One puzzles over the disparity between the wonder of the feat and the meanness of the public perception. A partial answer is that much of the public is ill-represented by the media. In dank bars and around depament-store TVs, where

Seeking the Center at the Edge

crowds fell silent to see a fellow man touch the moon, the deep sense of wonder was grist too fine for the mills of slicks and Sunday supplements. Yet the mood was sbo~-lived.When later moan shots were allowed to intempt football coverage the networks were deluged with angly phone calls. I t was as though the first moon landing were another of those fads cataloged by Women's Wear Daily ("IN: N e h m jackets, carved javanese monkeys, moonwalks"). The loss of interest was encouraged by promoting the moon landing not as a historic beginning but as a political termination. The result, as Apollo 11 astronaut Michaef GoElins obsewed, was to view the landing as another televised spectacular, a Super y was the same Super Bowl of technology. Bowl being played over and over again? The New York Times reported Apollo 11 with the largest headline ever: MENLAND ON THE MOON.By Apollo 16 the story had deteriorated to the Washington Post epitaph: Two KLUTZESON THE MOON.^

The Sacred Grove The one image from the moonflights to survive public apathy was perhaps the one ieast antici-

The Dream of Spaceflight

pated. There is a moment in the documentary For All Mankind (1989) when the familiar footage of astronauts clowning aboard the moon-bound spacecraft ceases and the giant theater screen goes black. Then up from the lower left corner, like a lost balloon, drifts the bright Earth, marbled milky white on sapphire seas with patches of sunbaked brown, floating, fragile as a Christmas ornament, vivid on the black velvet of space. Rolling through the cosmic night like a child's ball, without apparent purpose yet holding all human meaning, it is "an extraordinary kind of sacred grove," said joseph Campbell, "set apart for the rituals of life."4 When the astronauts stepped onto the barren, bombed-out surface of the moon ("magnificent desolation!" said Aldrin) they found that the only meaningful object was that wisp of color afloat in the black sky, four times larger and eight times brighter than the moon from Earth, containing all that we know and are ("0, a meaning! over us on these silent beaches," wrote Archibald MacLeish).s Able to cover with a thumb the site of all human history, astronauts felt both solitary detachment and profound communion, for they saw no national borders, only

Seeking the Center at the Edge

the ancient seas and continental rafis, swathed in luminous clouds. Like the simple but wondrous gifts brought to primitives by European explorers, the astronauts had put a mirror in the hand of humanity. The sight of "that tiny raft in the enormous empty night," as MacLeish described it, "that bright loveliness in the etemal cold," continues to transform our self-image in ways yet unknown.6 The spread of the ecology movement in the early seven~esreflected a new solici.trude toward the planet, an ironic result of the attempt to escape her. The living Earth, floating like a space flower above the horizon of the dead moon, became a symbol not only for the unity of all life but for the reenchantment of the world, for new mythologies merging science and mysticism in a yearning for planetary consciousness. The mythic moon--Diana, Luna, Melusine-now branded with bootprints, dissected in laboratories, and littered with NASA's debris, was brought down to earth while the Earth was placed in the heavens and given the name Gaia. The pitted surface of the moon, glinting gunmetal gray in the sun, seemed to reflect the desolation of the modem ego, while the living Earth became the "round object" of depth

The Dream of' Spaceftight

psychology, the archetype of the larger Self--inner and outer, head and heart, unfragmented by abstrad society. The moon seemed a fitting destination for Newonian man, sealed with his own. waste in the urban capsules that had been his triumph, as distanced from the primal sources of meaning as the moonwalkers were Ei-om Earl;h. But like the city, the lunar landscape, as Neil Armstrong noted, has a "stark beauty all its own," a changeless wilderness where rolling, sunny slopes gleam like virgin snow and thousand-foot gorges border majestic, three-mile-high mountains-lifeless, windless, looming still and serene, only the harsh shadows moving with the sun. Yet the beauty of this permanence is that of the cemetery. Such well-named sites as the Sea of Tranquility and the Sea of Serenity reflect the sublimity of death itself. The photograph of Earthrise encouraged the shift in focus from outer to inner space. It was an example of cultural eversion, in which a process taken to its extreme becomes its opposite. If the moon landing was the culmination of a halfmillennium drive to gain dominion over nature, then the sight of our fragile, lonely world seemed pivotal in turning the quest inward-not just to

Seeking the Center at the Edge

psychology, mythology, and metaphysics, but to the new self-awareness that comes when one realizes that the parent is mortal. The photograph enabled some to see Earth as an organism capable of death, ""As with a childhaod home," said astronaut jack Schmitt, "we see the Earth clearly only as we prepare to leave it."7 If the medieval view of an anthropocentric universe resembled the narcissistic perspective of childhood, then the Copernican image of a world adrift in an indifferent cosmos was in the spirit of adolescent alienation (and inflation, for accepting our diminishment made us greater than the gods). The harbinger of our maturity, then, may be the image of the whole Earth. For while it brought the first direct experience of the Copernican reality, it also suggested the emptiness of twentieth-century posturing about humanity's tragic absurdity and despair-an attitude rooted in the Calvinist contempt for man and its compensatory injunction to perform glorious works. For some, the logical end of that four-century imperative was the faceless astronaut, Addfi at the end af his umbilicaf, or alone on the lunar waste, he seemed a symbol of the modern paradox: isolation and impotence

The Dream of Spaceflight:

within a womb 01 wondrous works, But he also heralds a coming of age through the perfection of those works. Seeing our own essence in the floating Earth, we are finally more sacred than our works. "No longer that preposterous figure at the center, no longer that degraded and degrading victim off at the margins of reality," wrote MacLeish, "man may at last become himself." "We shall not cease from exploration," wrote T. S. Eliot, "And the end of all our exploring /' Will be to anive where we started I And know the place for the first time."8

Old Devil Moon If putting the Earth into the heavens had universal appeal, putting the moon underfoot did not.

The realities of spaceflight were in many ways disappointing to the very group who should have felt most EuXAXfed: the science-ficlt-ion fans. The treatment of intelplanetary flight in this genre, which has always drawn a disproportionate number of fans in their teens and early twenties, reflected the power/innocence ambivalence so common to adolescence, with regressive fantasies of maternal utopias on one hand and visions of

Seeking the Center at the Edge

omnipotence on the other ("Ord sat in his swivel chair and surveyed the solar system"). If one escaped the castrating bonds of Mother Earth in great phallic rockets heroically bound for an unknown future, the ships were also fragile vessels, warm and womblike in the awful void, reaching for some eternal home. The appeal of interplanetary fiction had rested on the adolescent fantasy of transcending the parental world while remaining safely within it, on a romantic longing for the inaccessibre, on dreams of heroic adventure, and on the hope that sentient being some great secret--lay in the sunlit meadows of remote worlds. Most compelling was Mars, with its polar caps, apparent seasons, and penciled canals, a world abiding like the Sphinx in the desert of space, awaiting new life. Generations of boys had gazed at that peaceful point of light low in the evening sky, yearning to run barefoot on her soft red sands, to wonder up a ridge and discover her dusky moons, rising on a rose-red city half as old as ame. How sobering, then, to see the moon invaded, between commercials, by inscrutable supermen who seemed inseparable from their machines, insulated from danger and adventure alike, un-

The Dream 05 Spaceflight

able to sift the silver dust in their fingers or feel the icy cold of another world. They had dropped, it seemed, onto a scarred wasteland of cinders and ash, not :he silvery moon of song, the greencheese moon, the moon that rhymed with rune, croon, and spoon, moon of lunacy and harvest lovers, Carolina Moon, Qfd Devil Moon, woElen and orange, riding a purple evening. "If only they had found footprints, fishing line, the trace of horses," lamented one poet; another asked, "Dare we land upon a dream?"g While the desacralized moon reinforced for many the new etologic devotion to Earth, it sent the science-fiction fans to Mars. Unlike the Ea&hfirst faction, however, they valued the moon landing as a triumphant if somewhat pedestrian plateau in humanity's pyramid to the stars.

The Great Pyramid The space program stands with the cathedrals and pyramids as one of the great "central projects" of history, epic social feats embodying the worldview of a culture and the spirit of an age. On the launch pads, the rockets point heavenward like Gothic spires. Searchlights intersect on

Seeking the Center at the Edge

a waiting ship to form a great candescent pyramid, ablaze on the black horizon like some d i m encounter, radiating light to the heavens. To reach for the heavens seems almost the signature of the central project. The pyramid was called the "staiway to heaven,'' the cathedral the "gate of heaven." The archetype is in Genesis: "let us build us a dty and a tower, whose top may reach unto heaven." Literature on the pyramids, cathedrals, and moon shots has tended to miss the significance not only of great height as the signal feature of central projects, but also their function as means through which whole cultures have found symbolic expression. Writers often pay lip service to the official rationales--immortality for the Pharaoh, a shrine to the Holy Virgin, or the quest for the grail of lunar rocks-while stressing the negative function of these projects as a source of shallow political pride ("let us make us a name," 'said the builders of Babel) or as a display of collective vitality ("And the Lord said . . . now nothing will be restrained from them which they have imagined to do"). Though some have noted that the central project focuses the energies and educates the consciousness of a popula-

The Dream of Spacefli@t:

tion during periods of cultural transition, attracting the best and most adventurous minds of the age,lo most of the interpretation has been narrowly political, reflecting the pedestrian, power-oriented, if not paranoid, slant of contemporary social science. Thus the pyramids become a ploy for political control, the Gothic cathedral is rooted in royal squabbles, and the space program is but a product of WASP prejudice or cold war hypocrisy--themes that lack all perception of the projects as spiritual quests in the broadest and deepest sense. Rising from a sunbaked plateau on the west bank of the Nile, the Great Pyramid at Giza is a dark silhouette on the dusty sky, jutting off the desolate land like some ixrscmtable monolith kom Mar tian lore. For fifty centuries the pyramids have stood silent, shimmering in the heat of the desert like ghost ships on the sea of time, looming stark and lonely against the twilight, sentinels from a lost civilizaGon, Oldest of the Seven Wnders of the Ancient World, the Great Pyramid was built around 2560 BC from Ws and a half million blocks of limestone, some weighing up to seventy

Seeking the Center at the Edge

tons, Mth seams one-fif;t.ieththe thickness of this page. A hundred thousand men toiled for twenty years without wheel, horse, or iron tools to complete the fourteen-acre, forty-story megalith, once flawless and gleaming white. The monumental scale and minute precision of this enduring enigma seems so incongruous with the technology of its time that it has given rise to at the pyramids are prodoccult hypothese ucts of divine intervention, that they were launching pads for alien spaceships, or that they embody arcane knowledge from the lost civilization of Atlantis. The dimensions, proportions, and siting of the Great Pyramid suggest that the builden had not only an advanced astronomy but a precise knowledge of pi, of the circumference of the Earth, and even of the flattening of the poles. But most prominent in the architecture is its embodiment of the Egyptian worldview--the sense that experience is ultimately to be understood subjebively, or heuristically, in terms of rhythm, harmony, proportion, symmetry, balance, and such numerological archetypes as paradoxic polarity, dialectic trinity, and equilibrated quaternity. The construction gangs who built the pyramids were not made

The Dream of Spaceflight

up of slaves but of volunteers, for the means did not exist to controt 50,000to 150, their will. They seem even to have developed a competitive team spirit, and those who worked on the sacred projed were honored in their villages. The Great Pyramid, in short, was more than a colossal headstone for a superstitious and narcissistic king, more even than a means for inaugurating the nation-state into history. It was the apotheosis of Egyptian science and culture. The building of the Great Pyramid, as Lewis Mumford has observed, spawned the first social megamachine composed of specialized human parts. Looming on the edge of the Libyan desert, this man-made mountain, almost half a mile square, was the Egyptian space program."

Consecrated in 1260, the cathedral at Chartres rose sheer and silver-gray out of a wheat-rich prairie southwest of Paris. Armies of masons and glassmakers labored for generations to create what is now the oldest sumivor af the Gothic space project. People came from all over France to drag stones from the quarry and pass bricks

Seeking the Center at the Edg

from hand to hand, chanting hymns as they labored and singing the holy songs around the night fires. Lords and ladies pulled carts with the rest and whole villages vacated to accommodate the laborers. The work was done in perfect discipline, offen in profound silence. Flying buttresses multiplied in a dizzying play of arcs upon arcs; the north tower rose to 375 feet; and nearly 4000 figures were set into 176 huge windows. Inside, clusters of frail columns soared upward and flared out into the cross-ribbed vault eleven stories above the floor. Space seemed to grow larger as one looked from the dim lower area up into the almost insubstantial region of the windows, floating bursts of stained-glass color. A supemal violet light transformed the space, as though one were inside an immense flower that had grown naturally from the earth. "This is a place of awe," intoned the bishop when the church was finally consecrated. "Here is the court of God and the gate of Heaven."lz The early Gothic cathedral seemed literally to reach for the heavens: "a mighty hymn in stone and glass . . flinging its passion against the sky."13 The impression was intensified on the interior by strong vertical lines that made the

.

The Onam of Spaceflii@t

building seem even higher than it was. Outside, the structure seemed to be drawn skyward by some relentless countergravitational force that raised and stretched every protuberance like cat's fur under an amber rod. The pointed Gothic arch, said one architect, "is a bow always tending to expand." "Hidden within its tensionstN adds Loren Eiseley, "is the upward surge of the space rocket. "'4 More important than the Gothic effort to soar into the heavens (the actual height was comparable to that of the Great Pyramid and the Apollo vehicle) was its attempt to capture a sense of celestial space on Earth. Unlike the Romanesque, with its thick columns, heavy arches, massive wall space, and dark, gloomy interior, the Gothic is airy, delicate, and light. One suggests earthly power, the other spiritual transcendence. The pointed slits in the Romanesque wall are replaced by the great rose windows of the Gothic, made possibie by the flying buttress, which allowed great spaces to be filled with stained glass and stone tracery, flooding the interior with light. The effect is that of a porous or transparent wall that light permeates and transfigures. The ethereal impression is strengthened

Seeking the Center at the Edge

by the fact that the Light is subdued by the deep color of the windows, The result of all these soaring lines, airy spaces, and astral light is an aura in which ma8er itself seems insubstantial and weightless. The whole structure, down to the twoton stones in the base of each pier, seems in a perpetual moment of liftoff. This attempt to escape from Earth was more than symbolic. In the Gothic view the symbol itself was the reality; the physical world, a subjective product of man's limited perception, was only a means to the transcendent-the visible reflected the invisible, and the symbol was perceived not as illusion but as reveLct2-ion. This applied above all to sacred architecture. The cathedral was seen not as a metaphor but as a model of the cosmos, just as scientific paradigms model the modern universe. With neither the empiricism nor the technology to explore the medieval belief that souls literally resided in the sky, simulation of the heavens on Earth became the goal of the Gothic space project. Perhaps the similar endeavor of science fiction to bring outer space into the great dark movie palaces of the fifties foreshadowed the rebirth of this vertical outlook-the contemporary spiritual resurgence

The Bream of Spaceflight

that has followed the five-century interregnum of horizontal empiricism, centuries in which consciousness grew not inward and upward but outward in geographic and philosophic breadth.15 A Dream of the Child in Man

In spite of the horizontal drive of modern Western culture, pyramid-building has in a sense never ceased, persisting through ziggurats, temples, and cathedrals to the modern pyramid of science and technology-the rise, brick by empirical brick, of Newtonian know-how over the last half-millennium. From the tip of that pyramid Armstrong took his "one small step" onto the surface of the moon. Mankind takes its "giant leap" as a technological creature whose abstract shape is itself a contemporary pyramid of specialized expertise. It is this creature who reaches the moon, where the role of the asmnaut-the cell at the apex of the pyramid-is virtually to bend and pick up stones. Though individuals may fail, the creature is unremitting, much as an army of Brazilian ants will bridge a moat with their own corpses to descend on a plantation house.

Seeking the Center at the Edg

Loren Eiseley suggested that our species resembles a blight spreading on a fruit, a spore bearer, devouring the planet's resources. Microscopic slime molds swarm into concentrated aggregation~,thrusting up spore palaces like city skyscrapers, the rupture of which may disseminate the living spores as far away proportionately as our journey to the moon. I t is conceivable, wrote Eiseley, "that man's cities are only the ephemeral moment of his spawningthat he must descend upon the orchard of far worlds as a blight is lifted and driven, outward across the night," or die.16 Or perhaps we steer spaceship Earth like Ahab on the Pequod, our means sane, our motive and object mad, drawn by the whiteness of the Milky Way into the starry deep, lashed to the object of our search with the lines of the chase. Yet Ahab may be but a pathology in the process of matter coming slowly to know itself through humanity, the nervous and reproductive system of Gaia, longing for immortality among the far worlds. just as we have seen the Earth from space, our progeny may gaze back on the radiant presence of the home galaxy, 600,000 trillion miles across, driffing in the cos-

mic ocean like a great whale, singing her inscrutable song to the radio telescopes of a hundred billion sister creatures. Perhaps some four-dimensional child of the cosmos will ultimately look back on the universe itself-a hundred-billion-trillion-milespongelike mesh made of fine strands of galactic light, like a great glowing brain. On the other hand, there are those who hold that only the mind may roam at will among the stars, for the moon is little more than a lightsecond away in a universe at least 15 billion light-years across. In this expanding and contracting "cosmic prison," as Eiseley calls it, "the diastole of some inconceivable being," our function and duration compare to that of a mayfly, and our tragic destiny to that of the classical hero, the hubristic flaw lying in our very ability to conceive of transcendence. Yet in that irony may lie our salvation. In his series Cosmos, Car1 Sagan is the lone voyager in the vaulted, cathedral-like interior of a ship that drifts majestically among stellar fires and mysterious worlds. His journey, we discover, is not outwrd but inward, home to the Earth where the ship began as a dandelion seed, floating from

Seeking the anter at the Edge

Sagan's fingers on the sea breeze, borne up out of Earth to become the bn'lliant burst of light-spines that is the ship's extemal shape. Not a view of the far future, but a vision set from the beginning in the seed of evolution, it is the cathedral of the imagination. That it comes from the human core is underscored by the story of john Merrick, Victorian England's grotesquely deformed "elephant man." A gentle soul retrieved from a freak show and imprisoned in a hospital where he was offen mistreated as an animal, Memck died at twentyseven of a ruptured spinal cord due to the weight honifying head. In his room he left a magnificently intricate model, built from scraps of cardboard trash, of the soaring spires of St. Philip's, the cathedral visible from the window of his own cosmic prison. The ship of the mind, the cathedral of the imagination, has been the heart of the central project. One returns in the end to great heighta reaching for the heavens-as its essence. Each of the grand central projects has at its core a romantic idealism detached from all things practical and political. The great strength and beauty of the pyramids lay in the utter useiessness of the final product. The central project is the dream of

The Bream of Spaceflight;

the child in man-to raise a mountain in the desert, to build a celestial palace above medieval huts, to cavort: on the sands of another world, Like all final concerns, it a ~ s e snot h m the ethic of work but from the spirit of play. Unlike the modern mistaking of means for ends, it is a taproot into human meaning. After all the apologetics, we will walk on Mars, not from false pride or foolish praxis, but in the spirit of wonder that sets our species apart. The image of man on the moon that will endure is not the flag or the science but humans at play-the boyish exuberance, the pratfalls and belly flops, Gene Cernan bursting into song as he bounced like a rabbit with his basket of rocks down the Valley of Taurus Littrow, A1 Shepard teeing off on Fra Mauro, Duke and Young yahooing as they bounded over the undulating plain in their moon jeep like lunar Keystone Kops. These are the images that will last, just as the toys will remain where we left them, the rover poised for its next task amid footprints chiseled in the dust, as fresh in a million years as if the driver had only stepped away for a cup of coffee. But our dream is finally of a living cosmos, teeming like the silent world beneath the sparkle

Seeking the Center at the Edge

of the sea. It is the hope that one day, on a dis-

t m t island world, we will discover an abandoned vehicle, encounter the footprint of a poor savage Friday or the soaring cathedral of some alien elephant man. It is the outward dream of the edge and the inward dream of the center, of touching the unknown depths of our larger selves, of going Home.

The astronaut, sealed safely in his portable environment but unable to touch the world on which he walks, has become the symbol of postmodem man. We yearn to reconned with nature, with one another, with ourselves. A fragmented, depersonalized, demythologized society spawns cancerlike individuals who lack a sense of anything larger than themselves and who thus destroy the social organism that sustains them. Simultaneously alienated and inflated, the ego becomes obsessed with order and control, basricading itself into a tiny clearing in the dark forest of the soul. Clinging to a false self, one loses receptivity to the symbolic unconscious, and with it the ability to experience wonder. The h-

The Dream of Spaceflight

ture of spaceflight is threatened less by the cynical journalist or the philistine politician than by the atrophied imagination, the withered capacity for wonder that afflicts the modem mind. Our sense of wonder may sunrive in fleeting visions of birth and death, origin and destiny, ocean and stars, But as snowflakes melt on the welltraveled walk or the morning star is lost in the light of day, dreams dry up in a drone of listless talk on bad help and great linebackers, echoing through empty fortresses, untouched by wonder. Drained from immediate experience, awe has been removed to the edge. The oceans and night sky are the modern preserves, the national parks of wonder, though our frenzied cities extinguish even the stars. Yet events in recent decades have begun to reawaken an avvareness of the uncanscious, of the something-larger-than-the-ego that is the basis for all wnder. And if we are all asQonauts afloat in the amniotic fluid of the abstract society, it is from that same womb that we may be born into the cosmos. In the last century we have had our own Copernican revolution. We have kn less than a lifetime that our galaxy is lost among a hundred billion other whorls of light, the fin-

Seeking the Center at the Edge

gerprints of creation, embedded in the "dark matter" that may compose 90 percent of the universe. And just as the early explorers sailed west in search of the East, the Newonfan science that rose in their wake now An& its own form of eversion. Its sturdy ships of reason, having explored to the far edges of rational experience, encounter the abyss that Colurnbus did not. On the macro- and microscopic frontiers, attempts to account for black holes or for particles that defy time and space begin to sound like the ancient mystics. As classic paradigms crumble, merging inner and S, we again see the night sky as analogue to the soul; the old mysteries trickle back, the old enchantments return to the w ~ r i d . The dream of spaceflight is in the end a search for roots, for something fixed and eternal. "Our identity," wrote Eiseley, "is a dream. We are process, not reality," prisoners of the concept of linear time, which ere-ates the illusion of form and permanence.17 The analytical psychologist would explain that the heavens, representing the outer unknown, are perceived as an analogue to the unconscious, the inner unknown; the longing for the stars is the quest for the greater Self, the equivalent of God.

Tnus the idea that the moon, like Mallory's mountain, must be conquered "because it is there" is deceptive, for the moon is less a taunting adversary ("We've knocked the bastard oE" said Hillary atop Everest) than a piece of the infinite mystery passing nearby. Even the Promethean conquest of nature itself, the Apollonian thrust of the last hal'millennium, cannot explain the fascination with space. The spectacular launch of Apollo was as misleading, in fact, as its name. Visions of fire ships and phallic rockets, of metal behemoths tearing man from Mother Earth, snorting flames as birds scatter in terror, are of secondary significance. The urge to enter space is rooted less in power than in innocence, less in agency than in communion. Though we may still seek to reenter Eden astfide the machine, an eversion of emphasis in the latter half of this cenmry has made the machine incidental to the postmodern imperative: to recontact the Great Mother, to reconnect with meaning.

Seeking the Center at the Edge It would be wrong to see this quest for home as simply a longing for the lost mother. As with all

Seeking the Center at the Edge

things fundamental, the reality is a paradoxic tension; light and dark, yin and yang, inner and outer are finally inseparable. Like Colurnbus, we enter space seeking the East in the West, journeying, as Ioseph Campbell said, "outward into oursefves."m If there is a common thread through all world mythology and religion, it is that the nature of man and the cosmos are one, It matters not whether this is literally true in some holographic sense, or subjectively true in that consciousness must constellate experience within its own limited spectrum; for us, it is true nevertheless. In the gleam in my wife's dark eye burns the Great Galaxy in Andromeda, while somewhere out on its myriad worlds recur the forgotten sound of my father's laugh and the scent of my mother's hair. So we dream of sailing a cozy ketch out past a million suns, aclrass the dark sea of the soul, in search of the minor lake in the soft green meadow, the secret center, the glint in the eye of God. Even if it is not in time or in space, there is still a sense, in the cathedral of the mind, that the joumey toward the horizon will bring it closer. "Come, my friends, 'tis not too late to seek a newer world," cried Tennyson's Ulysses, "to sail

The Dream of Spaceflight

beyond the sunset, and the baths of all the westem stars!" From the dawn of recorded history, the wesward course of the sun has been "rat of rebirth and moral regeneration. "The ultimate effect of the discovery of the new world," wrote historian Charles fanford, was "to oubssliwk for the spiritual pilgrimage of Dante and Bunyan the 'way West' as the way of salvation."lg From john Winthrop's "City upon a Hill," the Puritan moral example to the old world, down to our own nostalgia for the purity of the frontier, the way into the wilderness has been the way home. As with evolution itself, the way backward is lost-to the primordial sea, to the personal world of the primitive, to rambling twilight talk on a small-town porch, to our own elusive youth. As the Western horizon recedes across oceans and continents and out into the cosmos, the quest goes forward and outward, seeking the center at the edge.

In the VIP stands for the night launch of Apollo 17 sat a 124-year-old ex-slave named Charlie Smith.20 just as the astronaut became a sensing element for all humanitj, tthis last survivor of the age of lackson had traveled through time to be the eyes for an entire population long decaying

Seeking the Center at the Edge

in the earth, for those who had cleared the wilderness that became Houston. Gazing across the dark lagoon with their last witness, those pioneers might have wondered less at the thunderous fire ship than at the eerie apathy of their progeny. Ironically, the view of the Earth from space confirmed for many the notion that we should tend our own garden, rescue our own house, and make our pilgrimage not to the stars but to the far shores of our own kindred saufs. Yet it is the unipolar mind of the Hebraic-Christian tradition that sees outer and inner space, like matter and spirit or pride and humility, as mutually exclusive. The reality is the paradoxic equilibrium of the two in tension. We are such polar tensions, like the note in a vibrato, or the rhythms and cycles that define all things. The whole person must have both the humility to nurture the Earth and the pride to go to Mars. Love and wonder, center and edge are finally the same, the solitary key to the prison of the self.

Where there is no ~ s i a n , the people perish. -Proverbs 29:f 8

Chapter Four

Abandon in P

S

APOLLO23

REACHED THE BLACKOUT PHASE

of reentry, flight director Gene Kranz was on his feet behind the row af cansoles in Mission Control, pacing and smoking as he always did at critical moments. Kranz was tall, lanky, and bigboned, counted among the rarefied circle of "steely-eyed missile men" for his ability to issue cool, clipped orders while juggling a hundred problems competing for his attention. Besieged by men demanding emergency priority, each for his own piece of the whole, Kranz would listen quietly, ask a question or two, say, "Gentlemen, I thank you for your input," and issue a six-word decision in his staccato style. With a face like a wedge cut into rough planes, and a blond buzz cut that was barely visible in bad light, the intense, hawk-eyed Kranz had the look of a leg-

The Bream of Spaceflight

endary drill sergeant. "It was like boot camp," he once said. "We took our best controllers and made them instructors. They hammered away at the weak links until they broke. If a guy had a drinking problem or a personal problem, he either forgot about it or he cracked. . . . Some guys died of heart attacks. A couple of them committed saicide*"l In the windowless "trench" at Mission Control, crises were handled in cryptic murmurs, and the internalized tension surfaced in nods, glances, and technical acronyms. The more calm things appeared, the worse they probably were. If the job of flight controller was intensely demanding, the role of flight director was superhuman. Orchestrating twenty minds, each focused on one small segment of the mission, Kranz was the real skipper of the spacecraft. He was responsible not only for encyclopedic knowledge of a machine with 15 million parts, but also for a massive flight plan, a vast body of mission rules, and a barrage of input from many simultaneous sources, often with only seconds to make life-and-death decision under the gaze of the world. Kranz called it the "finest job in the spaceflight business." Like a maestro, he had not mastered every instrument

Abandon in Place

yet he caught every mistake, and he knew how the whole must sound. From that acronymic dissonance came the conceflo af haloed conenen.ts, the adagio of distant Earth, and the ballet of mankind on the s u ~ a c eof the moon.

The Eye of the Tiger Apollo 13 was not the first crisis Kranz had met. He had seen the Mercury-Redstone launch its escape rocket while the silent booster threatened to explode. He was on duty when Neil Armstrong spun out of control during Gemini 8. And his quick thinking had rescued the lunar module during Apollo 5. "Gene was the guy you wanted on the headset when there was trouble," a fellow flight director once said. Thus the most dangerous part of the first moon landing, the descent to the lunar surface, was assigned to Kranz, who had to make "go" or "no go" decisions in the face of onboard computer failures, faltering telemetry, a field of boulders, and only seconds of remaining fuel ("You'd better remind them there ain't no damn gas stations on the moon"). But no crisis had matched that of Apollo 13. No flight-control team had ever been asked to

The Dream of Spacefight

make so many life-and-death decisions, improvise so many fixes, or sustain their newe for so long a time. For four days following an oxygen tank explosion, snowballing crises threatened every aspect of survival-power, water, oxygen, fuel, guidance, communications, engines, reentry, and recovery. Yet what would seem a hopeless predicament was overcome moment to moment, point by point, as the crew scavenged and improvised, resorting finally to penciled math and seat-of-the-pantspiloting. The need to shout transmissions, the hiss of equipment, and the icy cold of the near-dead spacecraft kept sleep to less than three hours a day. Water condensed in pearl-sized drops on the metal bulkheads, which seemed to draw heat from the body and dispel it to the stars. Two days after lack Swigert spilled water on his shoes, his feet were still frozen. Fighting a kidney infection, Fred Haise shivered violently for four hours until jim Lovell hugged his body to give warmth. Frogmen who opened the hatch on the tropical sea could still feel the chill of space. The networks did not carry the crew's television broadcast, conducted only minutes before the explosion, for after the first lunar landing

Abandon in Place

the naZrioni had lost interest in moon shots. But with the news that lives might be lost in space, there was a sudden worldwide resurgence of concern. Apollo 13 came to symbolize both the nobility and fallibility of humanity-the heroic defiance that reaches out ts the stars and the tragic hubris that lures us to the flame, only to plunge us into the abyss. Thus the gaping gash running half the length of the command module drew inevitable aHusions to the Tihnic, that mythic memorial to Edwardian hubris. But the real root of the association lay in the vision of being swallowed into a vast, mysterious deep, to lie forever in some cold, dark, unearthly place. That Apollo 13 escaped Titanic's fate was due to the intense composure of both the crew and the team in Houston. For Mranz and his band of controllers, that failed mission was ironically their finest hou r 141 hours, during which Kranz survived on catnaps, remaining at the complex around the clock. His first job, after admonishing everyone to "keep cool" and not make things worse by guessing, was to preserve as many options as he could while closing down others. If he couldn't achieve initial goals, could he achieve lesser ones? "Eventually," he has said,

The Dream of Spaceftigt~t

"those goals may come down to mere survival, but even then you don't let yourself doubt that you can accomplish them. . . . If everybody worries, 'Well, if this thing happens or that thing happens,' you're not going to solve anything. Our job is to make things happen."z When it did come down to m r e survival, it was Kranz who made the critical decision to let the moon's gravity sling the spacecraff back toward Earth rather than risk the attempt to turn around and power home. He moved his White Team (the eight-hour shiffs had color names) to a windowtess chamber full of conference tables where they stayed for three days without leaving-looking, as he put it, "into the eye of the tiger." In addition to surmounting what seemed an impossible shortage of power and consumable~,the assignment of his renamed Tiger Team was to completely rewrite the reentry checklistnormally a three-month project-in three days. Emerging successfully, the White Team was back at the helm for the cial reentry, Kmnz pacing and smoking, wearing the one eccentricity he allowed himself: the symbolic white vest made anew for each flight by his wife, Marta. (All the more prominent against his narrow black tie and

Abandon in Place

no-nonsense visage, the vests had become rallying banners for his White Team.) The four-minute blackout phase of reentry, when friction temperatures create an ionization cloud around the ship that blocks all communication, was especially tense given the possibiliy that the explosion had damaged the heat shields. As the four-minute mark passed without response from the crew, the only sounds in the room were those of the air conditioners and the hum of elemcal equipment. "All right, Capcom," said Kranz, grinding out the cigarette he had lit four minutes ago, "advise the crew we're standing by." "Odyssey, Houston standing by, over," roe Kerwin called. Nothing but static came back from the spacecraft. After two more attempts, over five minutes had passed with nothing but noise on the communications loop. The men at the consoles stared fixedly at their screens. The guests in the VIP gallery looked at one another. Then Swigert's voice came through the crackle. Kernin closed his eyes and drew a long breath. Kranz pumped a fist in the air. As the huge chutes appeared on the main viewing screen, Kerwin had ta shout aver the roar af cheers in the control room: "Odyssey, Houston. We show

f i e Dream of Spaceflight

you on the mains." Unable to hear the response, he added, "Got you on television, babe!"3 One recalls the end of The Bridges at 'Ibko-Ri when the admiral, gazing from the canier as the surviving planes return, asks with quiet wonder, "Where do we get such men?"

Born in the Ohio heartland at the height of the Great Depression, Eugene Francis Kranz grew up in an America whose watchwords were cooperation, persistence, discipline, and endurance. Losing his father at the age of six on the eve of the war, he came of age in years of personal and national hardship. From the world of Dunkirk and Iwo jima, where risk and sacrifice defeated one of the darkest demons in history and left America a CO~OSSUS astride the Earth, Gene Kranz learned the value of wholehea~edcornmnal engagement, seeing in crises not an excuse for self-pity or wishful fantasy, but an opportunity for creativity, for pursuing the possible in the present, for expressing the human spirit. Earning a degree in aeronautical engineering from St. Louis University in only three years, Kranz

Abandon in Place

flew F-86 fighters in Korea and was later a flighttest engineer. He entered the space program at its inception in 1960 and became one of the first flight directors for the Gemini missions. A devout Catholic, unabashed patriot, father of six, and fervent believer in the exploration of space, his abiding attachments were to God, country, family, and his band of brothers in Flight Operations. Kranz was a man who could get misty at the sound of "The Star-Spangled Banner," and he played Sousa marches in his ofice to jump-start his day. But it was a documentary on Apollo 13, made almost a quarter-century after the event, that revealed a sentimentality deeper than his Sousa tapes. At the end of the two-hour program, as the main chutes deploy to soulful music, Kranz, whose flat Midwestem voice had provided much of the technical commentary, is shown in closeup as he remembers the jubilant mood in Mission Control-the cheering, the lighting of cigars, the waving of small American flags. Then, pausing in midsentence, shaking his head, Kranz wells up. Struggling mightily-militarily--to maintain his composure, he presses his lower lip hard against the upper, then manages a near-whisper: ""Iwas neat. ''

The Orean of Spaceflight

The night the documentary aired, it was seen in a hotel room in Los Angeles by the team that was planning the film ApoNo 13. What affected them most was Kranz's lapse. "If we've got a story that can make Gene Kranz cry," one of them said, "we've got a story."4 But why tell a story whose ending everyone knew? Those who went to the film with that question found that the story was less about spaceflight than about the human spirit. And Kranz, who emerged no less heroic than the astronauts, was invited on the lecture circuit. He came one evening to the old auditorium on the Stanford campus, heavier for his years but having lost neither the crew cut nor his intense commitment. To most of that student audience, born a decade after Apollo, he might as well have been Lindbergh remembering his Ryan monoplane, or Edison recounting the first "Hellohhh" shouted onto a wax cylinder. Like the computer, spaceflight has become commonplace, albeit endless circling in near-Earth orbit. But in the postmodern void, there is a visceral need for heroes. And for these children of the custodial saciety, coming of age amid a failure of nerve, the

Abandon in PIace

film had stmck a chord, a latent sense of human potential, a faint echo of a more heroic time, now as remote as the moan itself. The story Kranz told revealed a more vital time of common cause, intense teamd transcendent purpose. The challenges, he said, had been met by young people, often no older than the students in the audience, people with a proud vision, with dedication, perseverance, and self-discipline. It would have been easy to see a Boy Scout squareness about this military man, passing out his "Mission Operations" sheet with its symbolic emblems and bold"confidence," "toughness," "teamwork," "responsibility." Yet those young people of more timid t-imes, who had come out in sheets of rain to hear the man &am the movie, rose to their feet-as though for a whole generationand applauded at inordinate length.

The Dream of Animal Comfaft It has been more than a quarter-century since the fast man left the moon. Remnants of the great rockets now lie in the Smithsonian with the john Bull, the Tin Lizzie, and the Spin't of St.

The Dream of Spaceffight

Louis. On the abandoned launch pad at the cape, dry grass bends in the sea breeze. In another quarter-century it is likely that all twelve who walked on the moon will have passed into history. And there are now two generations who cannot remember when spaceflight was still a dream, who view Armstrong's leap as an archival event, another Lindbergh commotion. Even in the days of Apollo the public lost interest after the first lunar landing. Having beaten the Russians in the Super Bowl of space, we went back to business and Monday Night Football. After six walks on the moon, the last three were scrapped, saving seven-tenths of 1 percent of Apollo's total cost. Yet the $24 billion Apollo program cost each American only a dollar a month for nine years, and this ignores exponential returns to the economy. The S38 billion spent on space between 1961 and 1972 was barely 1 percent of the national budget, 3 percent of the amount allotted to social programs, and half the figure for detected welfare fraud.5 Had even this moderate commitment to space persisted, we would have walked on Mars a decade ago. Rationales for the abrupt ending of Apollo suggested that the scientific potential did not

Abandon in Place

warrant the cost, that the program stole technical talent from other fields, that it had little military value, and that Apollo's dinosaur boosters were a dead end in the evolution of spaceflight, which must now consolidate a stepping-stone presence in Earth orbit. Historian Walter McDougall argues that the space effort was part of an ideological package that Americans purchased after Sputnik in the belief that the United States must adopt the technocratic model to get back on top. By the early seventies, with the relaxation of cold war tensions and the growing concern over domestic issues, "the original model for civilian technocracy, the space program, became dispensable.w This may well have been true, but it does not seem to justify scrapping three paid-up moon shots. It is far more likely that President Nixon watched Apollo's TV ratings drop and decided that the risks-especially after the near disaster of Apollo 13-outweighed diminishing returns. A part of the problem was television itself. Ghostly images of astronauts on the moon revealed little detail, while the image of Earth in the lunar sky was a blurred white fleck segmented by two or three picture lines. The limited

The Dream of Spaceflight

audiovisual spectrum of television could not communicate even the eaxthbound wonder felt by those present at the launch, though the event involved the crude forms and simple conhasts (a large, isolated, unidirectional object spewing fire) most suited to television. And beyond the technical limits of the media lay the confines of mass consciousness, restricting spaceflight coverage to hardware, technical routine, cost-benefit ratios, or the lifestyles of the astronauts, trivia that soon became boring. Like the iconic cars that dominate our ads and movies, journalism in a pragmatic, means-become-ends culture is expected to get us somewhere. Television, moreover, becomes the great leveler of experience. How far away was the moon? The same distance as Vietnam--across the family room. In a larger sense, the shift from the world of print to the world of television--from the discourse of ideas to the surrealism of objects without context-has drastically shortened our attention span and corroded our ability to create images. The 6000 hours of television that the average American child has seen by the fifth year floods the young brain with images at the very time it would otherwise learn to generate them

Abandon in PIaee

kam within, a, condition. unconducive to the growth of imagination. Ironically, the means through which we watched the moon walks had itself reduced our ability to see their significance. We are, as Neil Postman notes, "amusing ourselves to death. But it is not the mass media that are finally to blame for public apathy toward manned spaceflight. If we lack the imagination to infuse the event with wonder, the fault lies in ourselves. A vast number of us are simply uncurious about anything we cannot perceive diredly (making Mars even less interesting than the moon). Since the universe of modern science, with neither center nor edge, violates the archetypes we call common sense, many choose simply to ignore it. The alleged 15 percent who believed that the moon shot was an elaborate government hoax staged for television exemplified in the extreme the widespread want of the most elementary concepts necessary to grasp the event. When the 1994 Los Angeles earthquake knocked out the power in the middle of the night, Griffith Observatory received numerous calls asking whether the quake was responsible for the sky being "so weird." The citybound callers had never seen a star-filled sky.

The Dream of Spaceflight.

No less profane were the critics who bemoaned Apollo's lack of utility, calling it escapism, military adventurism, fodder for technocracy, or a triumph of the WASPS, views often rooted in paranoid distrust of power and authority.8 For the same reasons that polls name the president of the United States the greatest living American year after year, the average citizen fears and reveres power above all else, perceiving the world as narrowly political and measuring most things by their instrumental utility. Without exception, polls have shown that interest in space rises proportionally with education and income. In forty national polls measuring public support for the space program between 1965 and 1994, an average of only 18 percent of the respondents favored its expansion when given the choice of funding other programs. In recent polls, only 8 percent would increase expenditures for space exploration, only 9 percent feel informed on the subject, and only 22 percent express any real interest in it? The great majority of Americans have put space at or near the top of the list of proposed budgetary cuts, favoring the reduction of programs perceived as having little effect on their daily lives.

Abandon in Place

When columnist Drew Pearson complained, in the wake of Apollo, that Nixon had chosen to fund "the most unnecessary projed of the century" rather than to clean "240 million gallons of excrement" out of the Potomac, the National Review noted that "out of such stuff as sewage treatment plants are liberal dreams spun."lQHaving risen with the urban-industrial middle class, liberalism has suffered kom its own success. The belief in equal opportunity has become a protest against unequal results. What began as a reaaion against artificial pockets of wealth culminated in the denial that charader and intelligence need correlate with well-being. And the bold social conscience that once stood against the evils of industrialization became a pathological crusade to neutralize every conceivable stroke of ill-fortune. Confusing reamres to be dodored people with livestoc and fed-the liberal agenda has degenerated to a quest for animal comfort. The Geography of the Soul

In the long run, the whole politics of society is more profoundly changed by a new sense of human potential than by any amount of obses-

The Dfearrt of"Spaceffight

sive self-n~aintenance."Where there is no visiont'' says the proverb of Solomon, "the people perish." Without a source of meaning larger than the ego or beyond mere survival, one is left at the center of a universe devoid of transcendence. The significance of anything derives from its larger context, one dependent in turn on still greater perspectives, until we reach what sociologist Peter Berger calls the "sacred canopy," the boundary where known and unknown meet. This largest conceptual cosmos halts the infinite regression of "Why" questions, dosing the perceived order with such symbols as "God" or "Universe," just as mathematical order is preserved by capping the system with notions of zero and infinity. These ultimate construas need not belong to organized religions, whose ossified idolat~esare ofien inimical to larger meaning. Any living symbol of the boundary, left inchoate and mysterious, becomes an object of awe and wonder, veiling some great mystery of indeterminate size and origin. Wonder, in its larger sense, denotes the mysterium tremendum, the aura of unfathomable majesty, utterly humbling and wholly Other, surrounding the sublime and terrifying unknowns that border our models of reality-the dark for-

Abandon in Piam

est, the empty desert, the sacred mountain, the boundless sea, tkte black silence of cosmic inf nity. Thus we gaze into the night sky and feel not diminishment but dilation, We sense the vastness and passion of creation and glimpse an equally vast interior-the "enormous geography of the soul," as journalist Edwin Dubb put it." We are aware of the stars only because we have evolved a corresponding inner space. Thus, the depth to which we experience the cosmos is proportional to our level of self-awareness. And with a capacity for self-transcendence and connedion to larger contexts of meaning and identity, the ego perceives its own finitude, free of false self-images and able to see others as more than means to its own unexamined agenda. Like the astronaut looking back on an Earth without political boundaries, one sees the multifaceted surface and oceanic depths of the larger Self; one reflects on reflebing, a boundless regress that probeds a deeper interiority onto the outer world, which becomes a more profound field of wonder. At the opposite extreme of self-transcendenceis n inflated ego that subsumes its social context much as a cancer cell proliferates to

The Dream of Spaceflight

no purpose and metastasizes. Psychologist Abraham Maslow argues that the excessively selfassertive are governed by such lower needs as security and acceptance, measuring others by their usefulness, mistaking wealth and power for ends in themselves. Spirituality is confined at best to conventional creeds, idolatries that avoid the larger questions. A false self projects its own system of categories and expectations onto the world, recognizing only those things that can be quickly labeled and filed away in some well-worn category. Extremes of boredom are avoided by a rapid succession of stock perceptions, as with spectator sports or TV fare, where the elements are rearranged to effect suspense or surprise without deepening the experience. Thus, while everything seems familiar, little is really seen or known. Embedded in the protective cocoon of the culture much as the infant is unable to distinguish bemeen self and other, the unreflexive, selfassertive person substitutes know-how for knowwhy, finding security in the familiar to the point of feeling adriff without a fixed pattern or routine. This condition can develop when an overanxious parent or repressive culture leads a child to distrust the world, instilling a feeling of impo-

Abandon in Ptace

tence and fear of novelty that curbs exploratory play. Conversely, a child forced into independence too early may develop obsessions with power and mastery. At either extreme, the consequent fear of the unknown, of facing internal uncertainty or losing external control, can bring a compulsion toward order and predictability, and a reductionist dismissal of anything unrelated to the practical, empirical world as irrelevant nonsense-symptoms that roughly describe the pathology of power-oriented politicians who obstruct the exploration of space. Anxiety kills curiosity and the urge to explore, while the want of self-reflection strangles imagination, creativity, poetry, and the sense of wonder. In contrast, the self-transcendent personality is motivated by growth needs rather than deficiency needs, seeing an experience as one would a sunset or a work al art, not as a means to unexamined ends but as an end in itself. Fascinated by the frontiers of the familiar world, such people break through the cultural cocoon to the ineffable, inexhaustible Other. They are directed not outward at what they lack but inward toward expressing what is intrinsic to the organism. Maslow has argued that the "metaneeds"

The Bream of Spaeefli@t

for truth, goodness, beauty, order, and unity are biologically as basic as the lower needs but remain obscured and elusive for those whose growth was arrested at earlier levels.12 In addition to the fulfillment of primary needs, however, self-transcendence requires the reflexive capacity to see beyond the raw content of experience. In a phenomenological study of introversion, psychologists loel Shapiro and Iwing Alexander distinguish between the "lived" experience of the extravert., which is direct and unmediated, like a cropped photograph, and the "reflectivef' experience of the introvert, which is more like a painting. In extreme form, the extravert's self is simply equivalent to the path of his encounters as he moves through the world, whereas the introvert's self is an evolving inner construct in light of which raw experience is selectively interpreted and incorporated. This incessant and intensive creation of meaning can leave the introvert hypersensitive and susceptible to overload, while the extravert is more stable and thus beEer armed for the arenas af wealth and power. The explicit meaning that results from the irrtravefi's self-refleaion contrasts with the implicit, "felt-meanings" of the extreme extravert,

Abandon in Place

who is bored by any experience that must be reflectively transformed to gain significance.13 Most of us, of course, lie nearer the middle, But to the degree that we lack self-awareness we cannot think metaphorically and are thus condemned to the literal, life, Eiflhur Koestler contrasts the "routine," which operates on a single linear plane, with the "creative," which imaginatively associates two previously unconnected matrices of thought. The juxtaposition of matrices disarms unreflective self-assertion (as absorption in the car chase is displaced to the theater when the film slips out of focus), dislodging the subjective experience from its objective correlate and revealing the inner world as a separate reality.14 It is the essence of the metaphoric imagination, analogous to the dreamer's awareness of dreaming-what Blake called "double vision," the ability to simultaneously perceive a thing in at least two ways. A recent study of ninety-one prominent creative people found that their personalities contain a complex balance of polar extremes-cooperation and aggression, realism. and idealism, rebellion and tradition, masculine and feminine stereoscopic depth that retains a childlike delight in the strange and

The Bream af Spaceflight

the unknown, a sense that anything mysterious, regardless of utility, is worthy of attention.15 Psychologist Heinz Kohut notes that such people seem to preserve the child's capacity to experience reality with less of the "buffering ego" that protects the average adult from traumatization, but also from creativity and discovery.16 The "buffer" seems to be rational consciousness itself, To the degree that we rely on deliberate conscious thinking-our analytic, reductionist, problem-solving mind-we lose access to the slower, less conscious ways of knowing that are the seedbeds of creativity. A simple example is the fact that we often recall a name only when we cease deliberately trying. Cognitive scientists now suspect that the function of rational consciousness is simply to invent plausible rationales for decisions already made at preconscious levels, its evolutionary role being to analyze and evaluate these inclinations in threatening situations.17 In modern competitive society, however, the threab are more often to status or self-esteem. Pressured by such uncertainties, and fearing that we will lose control or commit condemning errors, we revert to rigid, clear-cut,

Abandon in Pbee

and conventional thinking, adopting one shallow nostmm, one fashionable idea a&eranother. We find ourselves in this benumbed state when rational consciousness eclipses the larger unconscious self-that part of the mind, grounded in feeling, that gives meaning to experience. The linear, analytic mode also reduces the multivalent and paradoxic symbols of the deeper mind to mere conceptual signs ("Mother Nature," retaining the Latin root, becomes "matter"). Unlike the convergent thinking of focused consciousness, the undermind is divergent, intuitive, associational, leisurely, playful, and tolerant of ambiguity. In touch with this pre- or semiconscious realm, we are more selfaware, less threatened by the unfamiliar, and more willing to explore without knowing the object of our search. Psychologist Guy Claxton argues that chronic stress has caused modem culture to lose sight of this mode, to view it as a threat to reason and control, a "wild and unruly 'thing' that lives in the dangerous Freudian dungeon of the mind." The result is a withered capacity for creativity, curiosity, and wonder. The root condition is aft-en art. authorita~axlenvironment--overprotective parents who impose rigid

models of "right" thinking and feeling on children who comply for fear of abandonment, or traffic-cop teachers with inflexible rules and standardized routines, operating in a system geared to the lowest common denominator. Both produce either shallow rebels or cooperative conformists, neither of whom are capable of selftranscendence. 18 The idea that stress and the need for control blocks access to the creative undermind i s supported by the finding that children burdened with early responsibility tend to develop "thick boundaries" and lack imagination. One study speculates that the brain in such cases may achieve the permanent synaptic pathways of adulthood earlier, while the paths of the more creative, "thin-boundaried" people remain closer to "che formative state of childhood, less definite and specific, with more branching and ambiguity, like wandering back roads versus a n all-purpose freeway system. More obvious is the fact that exmssive demands, whether rooted in early responsibility or cultural brainwashing, require rigidity, reducing the time and motive for probing one's experience; and the less one ex-

plores, the less comfortable or compelling exploring becomes. A synthesis of these various perspectives may lie in recent insights into brain lateralization. It has become clear that the left side of the brain deciphers the text of experience while the right side provides the larger meaning or context. This qualifies in subtle ways the older distinction between temporal/linear/analy tic and spatial/analogic/ synthetic. The difference is more one of foreground versus background, deduction versus induction, or disconnected particulars versus a coherent, overall understanding of an event. People with right hemisphere damage seem to lack a larger sense of what is going on within the self and bemeen the self and the world. The literal nature of the left hemisphere cannot attribute two meanings to one thing; it does not experience Koestler's intersecting matrices. Unable to think metaphorically, such people are slow to grasp humor, sarcasm, or irony; and they lack the reflexivity necessary to a sense of wonder. No less vital than access to the right hemisphere is hemispheric differentiation itself. It seems likely that the lateralization of the two hemispheres (like two eyes or two ears) has a

The Dream of Spaceflight

stereoscopic effect. The wider the differentiation the greater the ability to hold a feeling or concept in one mind while looking it over with the prerequisite to creativity and a sense of wander. Studies have shown, in fact, that creative people have high interhemispheric communication. One suspects that the transcendent perspective requires a balance of polarized hemispheres-ideally, a n equilibrium of the two minds.20 In the end, it is balance that is vital in, all these polarities. To tread the thin line between rational consciousness and the creatiw undermind, between instrumental knowledge and multivalent meaning, is to avoid both rigid dogma and paralyzing indecision. In a balanced society, merging the "two cultures," the impetus for science and exploration would be spiritual in the deepest sense. Science would no longer languish in our schools and the will to explore would survive the Philistine pits of power.21

The point of all these models is that they delineate a spectrum of self-awareness, a measure of

Abandon in Place

wonder that divides the apostles from the opponents of space exploration. Without this reflexive awareness the stars remain unremarkable; the night sky becomes peripheral.22 But the models find larger meaning in the fact that the psychic development of each individual reenacts the evolution of human, consciousness. For the balancing of self-assertion and self-transcendence defines the contemporary coming of age, a cultural transformation for which the quintessential symbol is the dream of spaceflight. The development of the Western mind has had as its metclnarrative the collective emergence of conscious ego out of preconscious union with namre, a schism that has involved an adolescent obsession with self-assertive power that is archetypally masculine. From the patriarchal religions and rationalist philosophies of the Hebraic-Greek tradition to the objectivist science of the modern era, the Wes"tm canons have driven toward atomistic societies of autonomous, existentially free individuals. This evolution, however, was founded on a repression of the feminine, a progressive denial, as historian. Richard TQxlnas notes, of the anirna mundi, of the community of being, "of mystery

and ambiguity, of imagination, emotion, instinct, body, nature, woman." The point is less that Western history is a chronicle of chauvinist imperialism than that it has been a preordained stage of growth. The driving impulse of the West" masculine consciousness has been its ""dalectical quest not only to realize itself, to forge its own autonomy, but also, finally, to recover its connedion with the whole," to differentiate itself kom the feminine but then rediscover and reunite with it at a higher level of consciousness.z3 At the core of the current cultural transformstion--beyond regressions to primitive spiritual traditions-is a collective reunion with the larger Self at a higher turn of the spiral. The greater our reflexivity, the closer we come to this waking dialogue of conscious and unconscious. Coming of age, we cease our adolescent cycling between poles of the human condition-isolation and communion, power and innocence, masculine and feminine. We approach the point at which the increasingly isolated ego finally accepts its own finitude, aware that it is a small island on a great dark sea. Projected outward, it is what Jacob Needleman called a ''sense of the CQSmOS,''24

Abandon in Place

Explore or Expire

Are we the spores of spaceflower Earth, the metamorphosis of Gaia to Galaxia, or are we a planetary cancer, metastasizing to the biosphere and near planets? Any living system is but one level in a hierarchy that ascends through cell, organ, organism, family, community, society, species, and ecosystem (matter or spirit), the meaning and identity of each level lying with its function in the larger whole. Each intermediate structure displays a tension of self-assertion and integration, behaving as a self-contained whole in relation to subordinate levels and as a dependent part in relation to the larger reality. While selfassertion can become a metastasis, destroying the greater whole, the result of self-transcendence is evojuGon. Living systems reach out to their environment, merging with larger systems in the fight against entropy. We know from the new science of chaos and complexity that when an open system interacts witln the environment, it resists the slow accumulation of stresses until a breaking point is reached, just as water suddenly boils or an oppressed people revolt. While the energy of a

The Dream of Spaceflight

closed system is continually dissipated, moving it toward a maximum disorder of random particles, living systems maintain themselves by importing energy from the environment, processing it, and discarding waste. The evolutionary result is a self-organizing synthesis toward ever more complex structures whose goal is maximum order. As long as the fluctuations caused by the continuous flow of energy are minor, the system damps them. But if the fiuctuations reach a critical size, they "perturb" the system--the elements of the old pattern come into contad with one another in new ways. The parts reorganize into a new whole, and the system may escape into a higher order.25 It is at its frontiers that a species experiences the most perturbing stress. The urge to explore, the quest of the part for the whole, has been the primary force in evolution since the first water creatures began to reconnoiter the land. We humans see this impulse as the drive to self-transcendence, the unfolding of self-awareness. The need to see the larger reality-from the mountaintop, the moon, or the Archimedean points of science-is the basic imperative of conscious-

Abandon in Place

ness, the specialty of our species. If we insist that the human quest await the healing of every sore on the body politic, we condemn ourselves to s2agnation. Living systems cannot remain static; they evolve or decline. They explore or expire. The inner experience of this imperative is curiosity and awe. The sense of wonder--the need to find our place in the whole-is not only the genesis of personal growth but the very mechanism of evolution, driving us to become more than we are. Exploration, evolution, and self-transcendence are but different perspectives on the same process. Three billion years ago, as tidal rhythms exposed the creatures of the shallows to sun and air, it was the moon that summoned life from the sea. Now the moon calls again. Either we have a destiny that transcends the individual or we will uitimately succumb. And though the creative vision may elude the average person, "the highest of his duties," wrote the biologist J.B.S. Haldane, "is to assist those who are creating, and the worst of his sins is to hinder them."%The least among us, refleded Waiter Cronkite affer the moon landing, are improved by the feats of the best of us.

The Dream of Spaceflight

Fooling Us Out of Our Limits Those who compare the legacy of the Renaissance with the promise of space argue that the ingrown homogenization of Europe in the sixteenth century now applies to the whole planet, to which space offers not only rich new veins of empirical knowledge but a deprovincialization of the spirit. Space may save modernism from the black hole of solipsism. For if literary golden ages coincide with peaks of frontier expansion, spawning a Homer, Shakespeare, Melville, Conrad, or Twain, the closing begets Tennessee Williams and jack Kerouac. "We had to explore into outer space," wrote Mailer, as the "last way to discover the metaphysical pits of that world of technique which choked the pores of modem consciousness-yes, we might have to go out into space until the mystery of new discovery would force us to regard the world once again as poets, behold it as savages who knew that if the universe was a lock, its key was metaphor rather than measure "27 The frontier, like the world of the child, is a place of wonder explored in the act of play. Work is self-maintenance; play is self-transcendence, m

Abandon in Place

probing the larger context, seeking the higher order. And like the sacred spaces reserved for sport-cool green fields hidden in the bowels of Pittsburgh and Chicago--the frontier is seen as hallowed ground, where the gray monotonies of mortal limits are forgotten and each moment is eternal. joseph Campbell has observed that in countless myths from all parts of the world the quest for fire occurred not because anyone knew what the practical uses of fire would be, but because it was fascinating. Those same myths credit the capture of fire with setting man apart from the beasts, for it was the earliest sign of that willingness to pursue fascination at great risk that has been the signature of our species. Man requires these fascinations, said the poet Robinson jeffers, as ""visionsthat fool him out of his limits." Like the capture of fire, the longing for spaceflight is rooted less in means than in meaning itself. Beyond all the pragmatic apologetics, there is a certain unlikelihood about the Egyptian pyramid, the Gothic cathedral, or the Saturn 5 rocket; a towering, unearthly presence on the Libyan desert, the Florida coast, or the wheatlands of southern France. Like cl11 final concerns,

The Dream of Spaceflight

these central projects arose not from the ethic of work but in the spirit of play, their great strength and beauty lying in their utter impracticality. It is difficult enough for Americans, whose values and traditions are rooted so deeply in the work ethic, to conceive of an imprudent project at the center of any life, let alone at the core of an entire culture. Yet the Protestant ethic itself may be the greatest central project of all. Ironically, the pursuit of means as ends in themselves-equating wealth with happiness, power with success, isolation with freedom, change with progress-spawned the technological pyramid that has freed the mass of humanity from mere utility. One result has been to obscure the boundary between art and knowledge. In primitive times the two were identical; with the modern no-tion of objective science, art became subjective. But in the postmodern era, figure and ground are reversed; knowledge itself becomes the work of art. "Xn a worid in which men wdte thousands of books and one million scientific papers a year," says historian William Thompson, "the mythic bricoleur is the man who plays with all that information and hears a music inside the noise."28

Abandon in Place

Perhaps, says Daniel Boorstin, we are no longer merely Homo sapiens but rather Homo ludens, "at play in the fields of the stars." Perhaps we have learned to luxuriate in the expanding universe of expanding mysteries, "where achievements are measured not in finality of answers, but in fertility of questionseWzg It is not that we go into space seeking a literal edge. For even more revolutionary than the shift from a n Earthto a sun-centered cosmos is the modern universe, which lacks any center at all. Rather, we stand alone on the leading edge of evolution, exploring our horizons as children probe the world in play* Lured by the hope that life is no less characteristic of the cosmic acean than of the terrestrial, it is humans who must go into space, to wander far worlds and meet once more the dread unknowns, the dry-mouthed fears of the old explorers. The galaxies, great continents in the cosmic sea, arrayed "in knots and streamers across billions of light-years, like motes of dust dancing in window light," may lie eternally beyond touch.30 But the telos is the endless quest itself-matter expressing itself as spirit, spirit finding its epiphany in matter. To believe less--or to believe

mare-is to live in the shallows of what it means to be human. Were some catastrophe to destroy the human species, alien explorers might one day discover on the Florida coast a great stone table, standing Sphinxlike against a gray blend of sea and sky. Stencifed with the words ABANDON IN PLACE, it was intended to stand forever. Perhaps they would see it with other enigmatic monoliths-Stonehenge or the pyramids-as having some religious function. They would be correct. Abandoned since the days of Apollo, Pad 34 rests like an ancient ruin at the center of a great cirde, the old roads radiating in all directions. Lofty arches formed by the four legs of the great launch table frame another arch in the distance; and beyond that, lying in the scrubby weeds, the giant flame deflectors gather rust. There is something eternal about the scene, something elegiac in the lonely arches, crumbling at the edges, abiding in silence but for the song of dry grass in the sea breeze, requiem not only for the three who died there in the fire, but for the greatest project in human history. Risen and fallen on a crest of idealism for which "Camelot" was no misnomer,

Abandon in Place

Apollo fades into the past with aging moonwalkers, with Gene Kranz and his Ssusa nthems for a Homeric age. As monument to Apollo, Pad 34 merits a better inscription. Perhaps the final word belongs to Wernher von Braun, the man most responsible for Apollo's success. With his boundless energy and infectious enthusiasm, the tall man with the broad chin and the boyish smile embodied not only the triumph of Apollo but its fate as well. Ignored by NASA when he was no longer needed, he died of cancer at age 65. A young space enthusiast once asked von Braun what it takes to send a man to the moon. His answer is his epitaph: "The will to do it."

Along a parabola life like a rocket flies, Mainly in darkness, now and then on a rainbow. Andrei Voznesensky, hrabolic Baflad

Chapter Five

wns

when my father was shipped overseas to take part in the allied invasion of France. My mother and I, joined by his mother, had been following him from camp to camp through California and Texas, living in bug-ridden hotels. The irony is that while my father trudged through France, fearing he would not survive the war, it was my mother who died of lupus in the hallway of an overcrowded hospital in sunny Pasadena. Afraid to tell me the truth, my grandmother took me back to San Francisco with the assurance that my mother would eventually join us. As the weeks wore on, I was left to piece things together for myself. I have a searing memory of the night, by a window in our small apartment, when it all surfaced in my mind. It was like the dawning of consciousness itFIVE YEARS OLD

The Dream of Spaceflight

self. My memory of everything before that moment floats in the haze of childhood, a series of scattered images, but everything after that night lies in the larger world of adults, a coherent, structured chronology that seems to have followed a sudden leap in self-awareness. It was then that I began to notice the night sky. For both death and the stars are symbols of the barrier, each a sacred canopy, one in space, the other in time; one outer, ane inner, The notion of my nonexistence is as alien to my daily reality as the thought of a hundred billion galaxies, the finitude of self as unthinkable as cosmic infinity; and a true sense of either lasts but an instant. Without the mystery of death we would be unmoved by the mystery of the universe, Were there no threat of"nonexistence "fhere would be no sacred canopy, no projection of final meaning onto symbols of immortality. The two sides of wonder-the ecstasy of boundless possibility (mysterium)and the horror of absolute limitation (tremendum)-form the tension that spawns all art and science. But the ground of both is the awareness of death. From the rehsal to accept its finality arose the pyramids, the cathedrals, and the Apollo rockets.

Reflexions

The awareness of death seems not only the price of consciousness but its measure as well. In the cul-de-sac of postmodern culture, the reality of death is repressed to the point of being the new pornography, viewed with the lurid fascination once resewed for sex. The denial of death defaults to competitive obsessions with power or to conventional doctrines of immortality that only further eviscerate curiosity and wonder. But like my night by the window, the mass traumas of the last century seem to have encouraged a collective leap in reflexive awareness. Deep within the malignancy of modern individualism is a longing to restore some larger context, some meaningful end for runaway means. The search for what psychologist Robert Lifton calls the "symbols of immortality" intensifies as accelerating change undermines all the institutions-family, church, government, education-that have traditionally provided the larger context for those symbols. Thus it becomes ever more difficult to connect with something larger than the ego, to find a continuity with past and future that transcends time and mortality. A sense of immortality may come through our children, our contributions to posterity, an im-

mersion in nature, or moments of ecstasy found in music, dance, sex, creativity, athletic effort, or intense camaraderie. Such experiences fill the need for transcendence, for an expansion of one's life space, while reducing death anxiety. But the deeper the awareness of death the more profound the moments of ecstasy.' The word ecstasy means "to stand outside of," to be outside of oneself. To gaze at the stellar ocean is to step outside of linear time, merging the personal and transpersonal. As the star-filled night stretches away into space, the frozen panorama of my past reaches back over time, a single seamless event in which old conflicts fade and larger meanings come clear. Enlarging me in space and time, the stars become personal, my past universal. One such experience, a literal step outside, remains as fresh in my mind as it was forty years ago. I was at a debutante ball in a sprawling pavilion on the edge of a lake. My strategy at such functions was usually to find a magazine in the lounge and await the redeeming ride home. In this instance, however, I was trapped at a table with other sixteen-year-oldsvying with one another over whose family had the worst help

arzd who, at one Bmr?or anotrher, had been the most drunk. So when the dancing began I stepped outside into the night, wandering along the shore among the dark trees to the opposite side of the small bay. With the lights of the great white pavilion reflecting on the lake, and the music floating over the water, the tiny figures dancing in the distance seemed fleeting as mayflies. Out beyond the bay, where the open lake stretched away to a dark line of distant forest, the Milky Way rose out of the ancient trees, vaulting across an ocean of stars. It was a moment akin to my encounter with the Pacific or my night in the mountain camp, but inner and outer were now in some way inseparable. The stillness of my past, the permanence of things remembered, seemed somehow hidden in those countless specks, burning a thousand lifetimes distant. And I knew that somewhere out on the faintest fleck, itself a galaxy of a hundred billion suns, lay a shimmering lake and the echo of music immersed in the momern. nd perhaps, on some dark shore, one who had stopped to step outside, to gaze back across a billion years of space-time.

The Dream of Spaceflight

Perhaps in some recess of the psyche the human organism knows that it is a fractal of the reflexive universe itself, repeated in microcosmic multiplicity like a holographic plate-worlds within worlds within worlds-and that, far beyond the cold war reflex, our emergence into space rose inexorably from the taproot of evolution, the heartsong of a cosmos that is finally the dance of spirit. We are fascinated by the roiling surf for the same reason we are transfixed by fire: we too are matter asserting itself as energy. So are the fires of the night sky, where our being was written long before planets were bom or oceans condensed or mortal cells emerged from primordial soup. The communion of cells formed a n eye. And the world awoke. The price of vision was mortality, but its prize was the capacity for love and wonder. And if the cosmos is spirit incarnate, then the flame of life, the eye of consciousness, is its resurrection. Like salmon, we hurl ourselves against entropy, returning in fits and starts and occasional heroic leaps to our place of origin; as though the primal spirit had fallen into infinite multiformity and had somehow forgotten itself in the process. We are that ineffable essence, slowly, agonizingly, remembering.

A Ca~diein the Dark

It had been a dark and bitter year. The war languished in Vietnam, students rioted around the globe, the Soviets invaded Czechoslovakia, North Korea seized the USS Pueblo, a B-52 crashed carrying four hydrogen bombs, Chicago police battered demonstrators at the Democratic convention, Robert Kennedy was assassinated in Los Angeles, and Martin Luther King was shot down in Memphis. Discontent was epidemic, disillusion profound, as American families sat down to dinner on Chrismas Eve, 1968. Yet my most indelible memory of that evening is the hush of kitchen clatter as our gathering was drawn to the W--children, grandmothers, cousins, in-laws, and old-maid aunt through a spacecraft window at the mountains and craters of the moon, a phosphorescent world creeping across the screen, curving away to the black of space. "In the beginning," intoned a metallic voice across a quarter-million miles, "God created the heaven and the Earth . . . "; and the poignant closing of those first men to circle the moon: "Merry Christmas, and God bless all of you-all of you on the good Earth."

The Dream of Space-Ftighr

And once again the Earth seemed good. Time magazine scrapped plans to feature "the Dissenter" as Man of the Year, substituting the three astronauts. Like a latter-day star in the east, Apollo 8 had risen over a world longing for epiphany. It seemed proper that the event occur at Christmas--the last living myth in a disenchanted world, archaic as Genesis yet campelling at the core. In the iwenty-first century, the exploration of space will revitalize humanity just as Apollo 8 redeemed a dark year. In 1997, when Pathfinder put the first rover on Mars and the incoming pictures were relayed to a large screen in the Pasadena Convention Center, thousands of people of every age and color cheered each new image. Under the Martian panorama, among strollers and wheelchairs, backpacks and business suits, a profound sense of communion filled the huge room. Strangers conversed like old friends; for beyond the politicians and engineers this was their triumph, an ascension of humanity itself. We were on Mars! "From the moment the first flint was fftlked,'." to borrow Auden's phrase, space was fated to be the final canvas for expressing in bold strokes

the inexhaustible soul of humanity. We are alive at the dawn of a new Renaissance, a moment much like the morning of the modern age, when most of the globe lay deep in mystery and tall masts pierced the skies of burgeoning ports, luring those of imagination to seek their own destiny, to challenge the very foundations of man and nature, heaven and Earth. Like the sailing ships that incarnated the aura of the Renaissance, or the great steam locomotives that embodied the building of America, the spacecrafi is an emblem of the human spirit, probing the cosmos like a "candle in. the dark.'' The phrase belongs to a man who passed into history just before Christmas, 1996. More than anyone of his century, Carl Sagan reignited the sense of wonder in a world increasingly content to simply exist. Wonder was the core motif in the complex fugue of Sagan's life: the six-year-old at the World Exposition, awestruck by the utopian sights; the boy standing with outstretched arms in an open field, imploring the magic force that had carried Burroughs's hero to that blood-red beacon burning low in the night sky; and the proud ship Voyager, with its pictures of man and

The Dream of Spaceflight

its heartfelt hellos from the people of Earth. Who but Carl Sagan would cast humanity's bottle into the cosmic ocean? It was his rare gift to walk that razor's edge between romance and reality. He was the dreamer and the doer, the theorist and the aaivist, cornbining lofty speculations with cold, hard logic, balancing soaring wonder with unrelenting skepticism. A common theme running through his many-faceted career was his confrontation with what he called our hilure of newe-the self-indulgence that has taken this nation from the world's largest producer and creditor to the world's largest consumer and debtor. While the media cycles between pseudoscientific solipsism and existential despair, offering epiphanies in the form of aliens come to eviscerate cows and rape rural housewives, the epiphany for Sagan lay not in a cosmos that comes across light-years to doodle in our wheat fields, but one to which we must make the pilgrimage, across a n infinite regression of Archimedean points, sailing outward into ourselves. "Space exploration," Sagan insisted, is not endless circles in low orbit, tending weightless tomatoes, it is "going to other worlds." The con-

tinued exploration of the solar system, he argued, is a challenge that can bind together nations, inspire youth, advance science, and ultimately end our confinement to one vulnerable world.2 But Sagan's grand vision was of voyages on a stellar ocean teeming with life. His last gift to us, the film Contact, was criticized for depicting the first alien encounter in an overly sentimental manner. But the quest for intelligent life in the universe has never been less than a search for a reflection of the personal self, something we normally find only in another human being--someone who rescues us from solitude, who is our only enduring connection between "in here" and "out there," our only real communion with something larger than the ego. Humanity's longing for a place in the heavens is that same need writ large.

Car1 Sagan's memorial is that silent streak of light that arced out over the dark Atlantic one hot August night, bearing, at his behest, greetings from Earth in fifty-nine languages, music

The Dream of Spaceflight

from many cultures, and pictures of life on a blue planet. Launched in 1977, Voyager would explore what may be the homelands of our descendants, returning breathtaking images of the outer planets before passing out of the solar system. Traveling a million miles a day, Voyager will leave the Oort cloud, the triHion or more comets that orbit the sun, in 20,000 years. After hundreds of centuries, it will cross the line where the sun can no longer hold an object in orbit and will enter the open sea of interstellar space, the great dark between the stars-to sail forever, as Sagan said, "through the starry archipelagoes of the vast Milky Way Galaxy." It seems appropriate that the last voice on the Voyager recording is that of Sagan's five-year-old son: "Hello from the children of planet Earth!" For we are a species still in childhood, only now becoming aware of the true immensity and complexity of the cosmos. Carrying the hopes of humanity, the dreams of millennia, Voyager reaches out to life in cr universe turbulent and mysterious beyond anything imagined by our forebears. And if odds of entering another solar system are very small, perhaps eternity is time enough.

Voyager was inevitable from the first gleam in the eye of the hunter-gatherer, from the first fire, wheel, and furrow; it was latent in the stirmp and the longship, in the creak of every caravel, the ring of every railroad spike, the lonesome howl of every lumber-camp harmonica. Voyager is the distillation of our essence, our offering in the cosmic cathedral, the voices of millennia echoed in the vault of night. Generations will come and go, civilizations will rise and fall, and long affer Earth is vaporized by the sun and humanity is either extinct or evolved into other beings, Voyager will drift silently onward, carrying the message through countless eons: that t b m was, at our time and place in the cosmos, an awareness that knew something of its world and something of itself, an imperfect people of irrepressible spirit, of mathematics and music, of love and wonder, who dared to dream of reaching the stars.

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Appendix

Space Chrono Significant Firsts and Events Mentioned in Text

Hamonice mundi by Johannes Kepler. Somniurn seu Aslronomia Lunarr' b y Johanncjs Kepler,

De Ia Terre h la Lune by Jules Verne, Ma&ian canafirepo&ed by Giovarrni Schiaparelti, EZlars by Percival Lowell. The War of l-fieWorlcJs b y H. G. Welts. Investjgat.r'onof M/orld Spaces by Reactive Vehicles by Konstaxll-in Tsiolkovsky. "Under the Moans of Mars*'by Edgar Rice Bumaughs serialized in All-Story Magazine. A Mel-l?odof Reaching Extreme Alt-r'tudesb y Rabert Gaddard. Die Rakek zu den Planetenraumen b y Hermanxst Oberl;h.

First liquid-fuel rocket launched by Robert Goddard.

Space Chronotol~y Erau im Mand, film produced and direcled by Frjitz Lang. John W Campbell becomes editor of Astounding Science Fiction. arson Welles" War of the Mrlds broadcast,

First successfzul A-4 rocket launched at Peenerniinde. Chesley flonestell" paintings published in Life magazine. V-2 launched at White Sands fox U.S. Army by

Wernher von Braun, Robert: Heinteirr" "The Green Hills of Ea&h" published in the Saturday Evening Post.

Tke Conquest.of Space by W i l y Ley, with illustrations by Bonesteal, WAC Corporal sounding rocket mounted on a V-2 reaches space.

Destination IMoQn,film produced by George Pal, directed by Irving Pichel. F i s t spaceflight arlicle in Cclllierhseriesby Von Braun and others,

Space Chronology

First adificial satellite, Soviet Sputnik I. First U.S. satellite launched, Explorer I. NASA founded. First craft to leave Ea&h%gravity; Soviet Luna I. Launch of flrst Eadh probe to impact the Moon, Soviet Luna 2. President Kennedy announces the goal of landing a man an the moon. Fh-rst human spaceflight: Vuri Gargarin, Voslok 1. First Amedcan in space: Alan Shepard, n/iercuy 3. First American. in orbit: fohn Gfenn, Mercury 6. IClariner 2 launched, first S U C C ~ S S ~flyby U ~ of any pianet (Venm) *

First woman in space, Valentina Tereskrkova in Vostok 6 , First probe to Mars launched, Mariner 4. First space walk: Alexei Leonov, Voskhcld 2. First Arnelrican space walk; Ed Whi"Ce,Gemini 4,

Launch of f owiet Luna 9, first soft landing on the Moon. First human arCiPa@to reach surface of another planet, S o ~ e Venera t 3 impacts Venus. Rrst docking: NeiI Armstrong and David ScoE, Gemini 8. Launch of first Moon orbiter, Soviet: Luna 10, Gus Grissom, Ed White, and Roger Chaffee killed in fire on Pad 34, Apollo 1, 2001: A Space Odyssey, film produced and directed by Stclnley Kub~ck. Frank Borman, jirn Lovell, and Dave Anders orbit the moon, Apollo 8.

First lunar landing: Neil Armstrong and Buzz Aldrin, Apollo 1 1. Second funar landing: Man Bean and Charles Conrod, Apollo 12. Apollo 13 t?;uplosion. First soft landing on. Venus, Soviet Venera 7.

Third lunar landing: Alan Shepard and Edgar Mltchell, Apollo 14.

First space station, Soviet Saljyul 1, Fou&h lunar landing: Bavid Scow and Tames Iwin, ApoHo 15. Mariner 9 orbit-s Mars. Fifth lunar landing: lohn Young and Charles Duke, Apollo 16. Sixth lunar landing: Gene Cernaxl and HaMson Scfirnitt, Apollo 17. First Mercury. flyby, Wriner 10. First U,S, space station, SQl'ab I First Jupiter flyby, Pioneer 10,

Viking I lan& on Mars. Viking 2 lands on. Mars. Voyager 2 launched. Voyager I launched. Cosmos, Carl Sagan's thi&een-part series, airs an PBS'

Voyager I arrives at Saturn, First shun;]@flight, CoEumbia. V o w e r 2 afives at Saturn.

1983 6/13 6/18

Pioneer 10 leaves the Solar System, First American woman in space, Sally Ride,

1984 219

l986 1/24 31/28

first uwrtetkered spacewalk, Bmce McCandtess.

2/20

Vi;yager2 arrives at Uranus. Challenger disaster. Space staaon Mir launched.

1989 8/25

Voyager 2 awves at Neptune.

1993 12/4

Mubble space tefescope repaired in orbit,

2996 42/20 Death of Carl Sagan. 1997" 714

Mars Pathfinder rover lands on Mars.

Notes

Preface 1. Norman Mailer, Of a Fire an the Moon (New York: New American Librav, 1971), p. 37.

Chapter One 1,Capemicus's book, filled tvirh internal con&ad.iaom and unsolved mystefies, and thus neither simpler nor more acntrale than the Rolomaic system, afiraaed interest only in academic circles, where it was 9eneraUy Weated as na less h e u ~ s than ~ c Rolorny" model. And "it was Kepier, first of all, not Galileo," notes his deflniave biographer, "who k e d =&onomy &amthe bonds of Mstotelian physics" w a x Caspar, Kepler p e w York Dover bbfications, 19931, p. 136). 2. Afihur Koestler, The Watershed: A Biography of johannes Kepler (Lanham, Md.: University Press of Ame~ca,196Q), p. 195.

3, Ibid., p. 251. Many modern concepts, aP course, were not so much discovered as rediscovered; Plutarch, for exampie, contended that the moon tvas a small Ea&h inhabited by intelligent- beings; the "music of the spheres" originated vJil;;t?.Cicero, 4,See Marjofie Mope Nicolson, Voycrges to the (New York: MomilEan, 1960). S. On seventeenth-century England, see E. M. W Tillyard, The EIizokthan World PicWre (New York: Vintage Books, n.d.); Wallace Not-eslein, The EngEish People on the Eve of Colonizatbn, 1683-1 630 (New York: Harper & RowI 1954); and P. 8.Medawar, The Hope o f Progress (London: Methuen & Co., 1972), p, 110. 6. See Charles L. Sanford, The Quest for Paradke: Europe and the American Moral lmagination (Urbaxra, Xli,: tlniversiv of Illinois Press, 1961). 7. Koestler, pp. 36, 66, 224, On Kepler, see also Fernand Hallyn, The Poetic Slructure of the World: Copemticus and Repler (New York: Zone Book, 1990); and VVoIfgang Pauli, "The Influence of Archetypal Ideas on the Scientific Theories of Kepler," in Bof lingen. Foundation, ed,, The Inteprel-ation of hrature and the Psyche (Mew York: Pantheon Books, 1955),pp. f 49-240. 8.Robext Heinlein" story; "Universe," was publbhed in Astounding Science Fiction, Ma, 1941. It was expanded as Robes Heinlein, Ophans of the S@ ( N mYork: Pubam, 1964). 9. Not only was Verne the first to place a trip to the moon, on, a mathematical basis, but he was also the first to associate rockeb with spaceflight, equipping his afiilIery shell-

the first spacecraf to resemble the modern image-Nth small rockets for steering. With uncanny prescience, the Frenchman fired his ship konz the tip of Florida, splashing down in the Pacific *thin three miles of the recovery. site for Apollo 8, the first Bight to circle the moon. 10, On the American search f'ar order, see Robert H. Wi&e, The Search for Qrder, 1877-1 920 (Mew York: Hill and k n g , 1967). For insights into the psychology of science fiction and the nature of SF fandom, see William Sims Bainbridge, The Spaceflight/Revolution: A Sodological" Study (Malabar, Fla,: Robert: E, K&eger, 1"23), ch. 7; H a v Warner, Jr., All Qur Yesterdays: An Xnfomal Hjstory o f Science Fiction h n d m in the Forties (Chicago: Advent, 1969); Brian W, Aldiss and H a v Wardson, eds,, HelfWartographers: Some Personal"Histories o f Science Fiction Writers (London: Future, 1976); and Sam Moskowitz, Seekers of itornonow: Masters of Modern Science Fiction (Cleveland: World Publishing CO,, 18156). 11. William Graves Hop, Lowell and Mars (Tucson, A r k : Universiv of Arizona Press, 1976), p. 15. 12. Car1 Sagan, Cosmos (New k"ork: Random House, 1980), p. 110, 13, Ray Bradbury; et al., Mars and tihe Mind o f Man (Mew York: Hawer h Raw 19731, p. 35. 14. Milton Lehman, Robert. H,Goddard: Pioneer o f Space Research (New Vlork: Da Capo Press, 19881, pp. 226, 52, 15, Ebid., p, 23. 16, Walter Dorrrberger, V 2 (London: Hunt Ijf Blacken, 19541, p. 137.

I 7, The dislixlction is James Hillman3 ((Revisionin9Psychology mew York:Harper & Row 19751).The merging of the tryo

represexlb the Jungian goal of "indivliduation," or psychic wholenest in which ego-consciousnessbecomes aware of the total psyche, the larger Self. Interestingly, Edward Edinger (Ego and kchelypcr: Individual-ion and the Relr'giotrs FuncpIon o f the Psyche [Baltimore: Penguin Books, 19731) chose Is represent the emergence of ego-consciausness as a small circle &Sing out of a larger one until its center lies entrirely outside, where the ego awakens to the Self much as a beached fish might became aware of the ocean, The resulting diagram resembles a small sak;zlliteorbiang its mother planet,

Chapter Two 1, Willy Ley and Chesley BonesteLl, The Conquest o f Space (Mew York Viking Press, 1949). 2. Although RabemZ Lippert had received story lines for Rocketship X-M prior to the contrcxctixrg of Destination Moon and managed to release the film a month ahead of DM, his decision to proceed with it was neve&helessa direct result of DM's extensive prereiease publiciv. See Bill W n e n , Keep Watching the SIiries American Science Fiction m v i s o f the FiRies, Violume 1, 1 95&1957 (JeEferson, N.C.: McF'arlland, 1982), pp. It, 13. 3, Michael Coltins, Carrying the Fire: An Aslronaut"f~ourneys (New York: Bantam Books, 19831, p. 253. 4.Lea J. Moser, The TectznoIogy Trap: Survr'val in a Manh/iade Environmcmt (Chicago: Nelson-Hall, 19791, pp. 48-50,

S. S. G. Schvvafiz, "Amour De Voyage," Michigan Quar-

terly Review 18 (Spring 1979): 266. 6 , Naaonal Aemnautics and Space Adminiseation, Why Man Explofes (Washington, D.C.: U.S. Cosemment Pdnting ORce, 19761, pp. 18-20, 7. Loren Eiseley; The Unexpected hiverse (San Diego: Harvest Boobp 19691, pp, 67.--73,

Chapter Three l. Car1 Sagan, Cosmos (New York: Random House, 19801,

p. 5.

Earth: An EXpioration o f l"he New Planetary Culture (New ltork: Haver & Row, 19741, pp. 1, 3. Norman Mailer*O f a Fire on lche Moon (New York: New American Library, 1971), p. 93. The microbaragraphs (reacting to Apollo 4) are noted by Richard Lewis in Appointment on the Moon (New York: Ballantine Books, 1968), p. 420. The ""connet" was a huge meteorite. 3. MichaeE ColXlns, C a v i n g the Fire: An Aslronautuourney (New York: Bantam, 19831, p. 474. 4. laseph Campbell, Myths to Live By (New York: Bantam, 1973), p. 245. S. Columbia Broadcasting System, Inc. CBS News, IO:S6:2Q PM EDT; 7/20/65;":7-he ht'storic conquest o f the moon as reported to the American people by GBS News over the CEES Television NeWork (New York: CBS, 1970), p. 165, This is the o~ginaX, version of MacLeishispoem, ""Voyageto the Moon," read over CBS during the Apollo 11 coverage, 2. WlEiam Iwin Thompsrzn, Passages About

6. MacLeish's New York Ernes essay on Apollo 8, quoted in fohn Noble Wiffol*cf, 'We Read the Mmn (New York: Bantam, 1969), p. 206. 7, Hadson SchmiM, "The New Ocean of Space," Sky and Telescope 64 (October 1982): 3217. S , MacLeish quoted in Wilford, We Reach the Moon, p. 206. T. S, Eliot, "Linle Gidding," in Four Quartets (New York Hrnrcourt Bmce Joveznavich, 1971), p. 59. 9,S. G. Schwart.~,""Amour De Voyage," Micfrigan Quar-

ter@Review 18 (Spring 197%: 266, May Swenson quoted in Ronald Weber; Seeing Earth: Literary Respnses to Space Expiiration (Athens, Ohio: Ohio Universiv Press, 1985), g, 82, 10. Willis Harman and Howard Rheingold, Higher Creativity: Liberating the Unconscious fir Breakthrough Insights (Los Angeles: jeremy P. Tarcher, 1984), pp. 174-1 75, I l, On the pyramids, see Lewis Mumford, The Myth o f t-he Machine: jrechnics and Human Development (New York: Harcoufl, Brace & World, 1967), chs, 1, 9; Ku& Mendelssokrn, Tire Riddje o f the Qramids (London: Thames 8 Hudson, 1W74); and john Antbony West, $event in the S Q : The High Wi:sdam ofh-ancient Egypt (New York: Julian Press, 1987). 12. Kenneth Clark, Civilisation:A Personal V i w (New York: Haver & Raw, 1969), pp. 5&60; Harman and Rheingold, Higher Creativiw, p. 169. 13. Kenneth Macleisln, "Legacy from the Age of Faith: Chartres," National Ge~grapfiic136 (December 1969: 866, 880. The second phrase was taken kom Henry Adams. 14. Loren Eiseley, The Invisible Pyramid (New York: Charles Scdbner" Sons, 1970), p. 84,

Notes

15, On the cathedral, see Bao von Sirnson, The Gothic Cathedral: O~ginsof Gothic Architecture and the Medieval Concept o f Order, 3rd ed, [Elollingen Series XWIII] fPl"inceton, N.f,: Pdnceton University Press, 19138), espedalty the introdu@lionand part 1. f 6. Eiseley, hvltsible oramid, pp, 53-54.

27. Loren Eiseley, The Unexpcted Universe (San Diego: Hawest Book, 19691, p, 76. 18- Campbetl, Myths to Live By, p. 246, 19. Charles L. Sanford, ""An American Piigdm's Progress," Aneitican Quarter@4 (Winter 1955): 302. 243. On Charlie Smith, see Graver Ler/vis, ""A Conversat-ion tvlith the Na.tionfs Oldest Citizen," Rolling Stone, Febmary 1, 1973, pp, 2&26; Andrew Chaiufkin, A Man on the Moon: The Voyages of t-he ApoIl~htronauts (New York: ViMng Press, 19941, pp. 495, 498, 501;Davl'd Baker, The Histoy of Manntsd Space Flight (New York: Crow, 1982), pp. 43W39; and 'The Talk of the Tom," The NW Yorker,December 30, 1972, p. 22.

Chapter Four 1. Mike Gray, Angle ofAttack: Harr;isonStorms and the Race (New York: Penguin, 1994), p. 280, 2, Jeffirey Kluger, The Wpollo Adventul-e: irhe Making o f the Apollo Space Program and t-he hcPovfe Apoljo 13 (New York: Pocket Books, 19951, g. 189. 3. "fe account is taken from Jim Lovell and feffrey Kilttger, Lost Moon: fie P e ~ b u sVoyage ofApollo 13 (Boston; noughtcan Mifflin, 199.41, pp. 33S333. t~ the Moon

4, Kluger, Apollo Adventure, pp, 192-193. The desc~ption of the documentary is taken in part kom Kluger. 5. See 'Qvertoaked Space Program Benefxts," Aviation Week, March 15, 1972, p. I I; Larry Ceis and Fabace Florin,

eds., Moving into Space: The Myths and Realities o f Exfratemestrial Spce (New York: Haver & Row, 29801,p, 25; fe&ey M. Elliot, ed,, The Future of the Space ProgramILarge Caporations and Socr'ep: Discussions with 22 Scknce Fiction Writers (San Bernardfno, Calif.: Borgo Press, 19811, p. 6; and "Apollo's Moon Mission: Here Are the Results," U.S. News and World Report, August 4, 1969, p. 27, B. Walter McDougaXl, Heavrzns and the Ea&h: A hlitical History of the Space Age mew York: Basic Books, 29851,p. 422, 2. Neil Postman, Amusing Ourselves to Death: Public Discourse in the Age o fShow Business (Harmondswo&h,England: Penguin, 39841, 8,X n addition to Naman Maifer's Of a Fire on the Moon (New York: New Amedcan Library, 19?l), see, for example, Williarn D, Amill, Fire and hwer: The American S p m Program as hstmodem Narrative (Athens, Ga.: UniversiZy of Georgia Press, 1994); David Lavery, Late for the S@: The Mentafi& of the Space Age (Carbortdafe, Ill.: Southern Illinois Universlp Press, 1992); Dale C a ~ e r l'he , Final Frontier: The Rise and Fall o f the American R ~ k e tSt-afe (London: Verso, 1988); Williarn L. Cmm, Lunar Lunaq and Other Cmment a ~ e (Philadelphia: s D o ~ a n c e& Co,, 1965); and Arnitai Etzioni, The Moon-Doggle: Domestic and International Implications af the Space Race (Garden City, N.X: Doubleday, 1964),

Notes From whence comes this need to Xay low all human Wumphs by linking them to the inevitable ills of socieq and cuXmre? Yes, all things are interconnecrted, but does that reduce the meaning ofthe Stahe of Libem to a lure for cheap fabor? It is ironic that the cdtics of spaceflight accuse its celebrants of ignodng the complexities of political and eesnomic reality; for the same critics seem ignorant of the greater complexities of human nature-the abiliq to simultaneously experience the same realihy in many w a p . The linear, analflc, overintellectualized percepaon of the world, for all its intPicacies, fails to plumb the depths of m e complexity, 9. Vincent Kieman, "'Shdy Finds Space Suppoft Dwindling," S p a e N m s , February 27-Mar& S, 1995, p. 6; 1993 PJaGonal Opinion Research Center suwey dted in. "The Moon Landing Revisited,'"American Enterph, fuly-August 1994, p, 89. A poll commissioned by Rockwell Internaaonal in f 992 found that only 2 percent of the respondents thought they were exQemely familiar with space adviBes (Paul S. Eiardemn, The Case fm Space: Who Benefits from Explorations of l-he Last Frontier? [Skrrewsbur)t, Mass,: ATL Press, 29971, p. 1652,In a poll taken just after the Pathfinderlanding on Max?;, 13 percent felt the government was not spending enough on space, but they were not asked to c=hoosebeween space and other programs (f-lumphrey Tayfor, "The Hams Poll on Space: Sbonger Public Suppofl but not for Spending More," Space Ernes 36 movember-December 19971, f 51, 10. ""Fat-Earth Liberals," National Review, July 29, 1969, p. 738.

Notes

11, Edwin Dubb, "Without Earth. There Is No Heaven: The Cosmos Is Not a Phy.sicisfts Equation,'"arper"s89 (Febmasy 1995): 40. 12, See Abraharn H. hifaslow, Towrd a Psycho1og.y of Being, 2nd ed. (New York: Van Nostrand, 1968); The Farther Reaches of Human Nature (New York: Viking Press, 1971); and Religions, Vahes, and Peak-Experiencef (New York: Viking Press, 1970). A similar poladty is suggested by Ernest C. Schachtel in Mtamorpfrosis: On the Development of Afect, Perception, Attentian, and M m o y (New Vork: Da Capo Press, 19841, substituting autscentriclaillocentric for. selfasseeivefself-transcendent, The autocentric experience is one of socially shared autism, a private world of the many in which one perceives only the expected conventional schemata. Without the rigidly of such familiar labels and signposts, the autocentric faces the terriqing abyss of the unknown and unmanageable. The knee-jerk, meansbecome-ends orientatian of such enbeddedness compares to the instinctive level of lower mammals, who react to any change with avoidance. Higher mammals, with an emerging sense of self-other separation, have developed the drive to explore, albeit one vulnerable to anest. 13, Kenneth. j. Shapiro and lming E. Alexander, The Expe~ e n c eof Int-roversl'on (Durham, N.C.: Duke tmiversiq Press, 1975), The conventional view of the introvert as withdrawn is, of course, far too simple. mere is some basis, howewr, for associating paranoia with the exbaverl, who needs to con&oE the path of expefience because it consliwtes identiq; loss of such con&ol may engender conspiratorial theories.

Notes 14. Afihur KoesZler, The Act of Creation (Harmondswoxth, England: Arkana, 1989 [1964]), p. 35. The intersedon of

the Wo planes may be a collision (which explodes the accumulated tension and produces laughter), or hsion (intellectual synthesis, creating curiosity), or a prolonged conkontation (the slow catharsis of aesthetic or tragic experience, oRen gelding tea=). I f the clash of matrices is limited to hurnor, the content of which always reflees some f o m of axrxieq, then the power-odented self-asserting impulse, robbed of its targetf is simply released in laughter. With the tragic, aesthetic, or curious, however, there is c;it prolonged suspension of awareness beween the two planes of perception, generating selE&anscenbence. Perhaps, like the depth of three-dimensional vision or stereophonic sound, which comes from the juxtaposition of two eyes or ttvo ears, three-dimensional consciousness, or refiexivi.ty, arises kom the intersection of two fields in the brain, the simplest example being hemispheric specialization. In fungian psychoi~gy~ the awareness of opposites is the "sppecific feature of conscfousness,'"ee EEdinger, Ego and Archetype: Xndividuatr'on and the Religious Functr'an af the Psyche (Baltimor-e: Penguin Books, 19731, p. IS, 1.5. Mihaly Csikszentmihaly.i, Creatkity; F& and the Psychology of Qiscovey and Invmtion (NW York: HarperCollins, 19961, pp. 5'7, 156, 329, 3346. Csikszentmihalyi found that such people experience both poles "urith equal intensity. and without inner conflict," moving from one ex&eme to the other as the occasion requires. He also noted that their stereoscopic perception was oaen rooted in a parallamc

Notes childhood, as when two parents have conflicting value systerns. An exponential effect would then seem inherent in the cosmopolitan namre of modern society; 26. Paul Ornstein, ed., The Search for the Sele Selected Writings of Het'nz KoFtut, 1950-1 978, 2 vols. (New York: international Universities Press, 1978), l: 27 2-274. 17, Evidence for the illusion of conscious control is found in hpnotic expmrjiences, in the sincere but bogus explanations that split-brain paaents ggie b r their actions, and in expe~mentssuch as that conducted by neurophysioiogist Benjamin Libet in which subjects who were wired to electrodes and asked to flex a finger registered a f l u v of brain activity a fraction of a second before the conscious mind sent the "order" to flex. See Timothy Ferris, The Mind's S@: Human Inteilr'gsnce in a Cosmic Context (New York: Bantam Books, 1992, pp. 74-73). 18. See Guy Claxton, Hare Brain! Tortoise Mind: Why Intelligence Increases When You Think Less (Hopewell, N,j.: Ecco Press, 1997); and John S. Dacey and Kathleen H, Lennon, Understanding Creativiw The Inferpilayo f Biological, Psychologicalr, and Social Factors (San Francisco: Jossey-Bass, 1998). At the extreme, Claxton suggests, the lost vitality is sought in violence, pornagmphy, or drugs. David Bohm adds that the inner conflicts rooted in an authoritax.ian childhood can lead to an avoidance of self-refleaion. Every time the mind tries to focus on its contradictions, it jumps to something eke. "'Ether it continues to da& from one thing to another, or it reacts with violent excitement that firnits all ctaenli;on to some trivialiv, or it becomes dead, dull, or anesthetized,

Notes

or it projects fantasies that cover up all the contradictions" (On Creativiq [New York: Routledge, 19981, p. 21); see also Silvano Arieti, Creativiq: The Magic Synthesis (New Wrk: Basic Books, 1976). The reduction of symbols to signs is treated in depth in Jungian psychology, 19, Ernest H a ~ m a n n Boundaries , in the Mind: A Mew Bychology ofkrsonafify (New York: Basic Books, 1991)-The vpical "thick-bounda~ed"person tends to be conventional, analflcal, focused, and ambi~ous,but inflexible and lacking imaglination and intimacy. Frequently older and male, he is more likely to be found in. politics, business, lawf or engineering. The ""tin-boundaded," on the other hand, while c ~ a t i v e ,inmitive, sensitive, and open, tend to be unfacused, disorganized, and less stable, They are typically young, more andmgpous, and heavily represented among artists, teachers, and therapists, I regret that space allows only cmbe schematic summaries of these psychological models. mere is no substilute for reading the original works. The poles, of course, should not be seen as inferiorlsuperiar but rather as complementary, a symbiosis Mthin the human csmmuniv, each sewing a n indispensable Eunction. The camelaaon of early responsibiliv, thick boundades, and extraversion recalls David NcCXellandfs stucly of the achieving personaliv, which linked "independence tmining" with high levels of financial success (The Achieving Saciety [Princeton: D. Van Noslrand, I"31f). fn Hare Brain, Torl-oise Mind (pp. 151-153), Claxton expands on something very similar to Hamann's "swaptic

Notes freeways'"Boundaries, ch. 12). The idea is also reinforced by the suggestion that the supe~arityof the human mind to that of other pdmates may correlate with the fact that the appearance of the mature human bears a n astonishing resemblance to the eight-month ferns of a chimpanzee, The delay in human maturexlion, responsible for the helplessness of the infant but also for extended postnatal development, parallels Elctrlmann" hypothesis that impermanent brain pathways may enhance creativily; Unlike that of the chimpanzee, the human skull is born with the sutures still. wide open, allowing continued expansion of the neacortex. In fact, three-quaflers af the skull groMh takes place afier biflh. Thus, while the chimp is born with a highly specific instinctual code that integrates him immediately into his forest environment, the human is left to solve many ctf his environmental challenges with the nonspeciBc processes of conscious thought. Konrad Lorenz suggests that cur;iosity is related to this tmde-offi "Human exploratory inquisitive behaflor-restrricted in animals tcr a brief developmental phase-is extended to persist until the onset of seniliwpt (Studies in Animal and Human Behavior [London: Methuen, 19711, p. 239). Robe& Bly adds that electronic cul.hrre now hinders the normal development of this exploratory hrzction, resulting in a loss of conEdence and a feeling of insecuriv, which leads to a deliberate numbing of prtlbing capacities (The Sibling Society [Reading, Mass.: AddisonWesley, 19941, p. $9). It is one rnore explanation f"or contemporary apathy toward the exploration of space,

20.This discussion is based largely on Robert Qmstein, The Right Mnd: n/laking Sense aF the Hemispheres (New York: Harcourt Brace, 1997); Richard J. Bavidson and Kenrteth Hugdahl, eds., Brain Asymnzety (Cambridge, Mass,: MIT Press, 19135); B, Frank Benson and Eran ZaideE, eds., The Dual Brain: Hemispheric Specialization in Humans (New Yo&: Guilford Press, 1985);Sally P. Springer and Ceorg Deutscfrr, Left Brain, Right Brain, 4th ed. (New York: W. H. Freeman, 1993); Sid J, Segalowitz, Two Sides o f the Brain: Brain Lateralizafio.onExpEomd (Englewood Cllgs, N . j .: Prentice-Hall, 1983); and Artn Moir and David Jessel, Bmin Sex; The Real Dificerence Bettveen Mm and W m e n (New York: Dell, 1991)- The later part of my discussion is of course specula~ve,"I-ere are many passible explanacciorts, such as a n individual whose left dominance (characteristicof the average male) is countered by a thicker corpus collosurn (clnaractefistic of the average female). It is the balanced polan'zation that seems essential. On the conelation of interhemispktedc communication with creaavit-y,see Dacey and Lennon, Onderstanding Creativiq, p. 21 1. 21. The theme of C, F". Snow%celebrated Rede Lecture deploring the separalion betGveen the literary and scientific culmres (published as f i e 7ivo Cultures and the ScientificRevolution [New b r k : Cambridge University Press, 19593) has found a resurgence in works like Edward 0. Wffson"s bestselling Consilknce: irhe Unity sf Knowledge (NW York: Vintage, 2999)' Ken Wilber's The Marriqe o f Sense and Soul: Integrating Science and Religi~n(New York: Random House, 1998), and Paul T. Brockelman's Cosmol~gyand Creation:

The Spir;itual Signilicance af Csnl-ensporaly C~smolog)l(New York: Oxford Univefsip Press, 1999). 22. The media, paficulariy music and film, have became the sacred canopy for many, In the postmodern void, the averarching context of value, purged of religious cansensus, defaults to the markeplace, Thus, while the stars in balize the banscendent reality far some, for others it is the "stan" in the media. The desire in both cases is to connect in same way to what is sincerely perceived as the outemost sphere of meaning, be it the night sky or the aura of celi.ebd6y. The depth of the symbol corresponds to the level of self-awareness, 23. Richard Tarnas, The Pasion ofthe Western Mind: Uinderstanding the Ideas That Nave Shaped Qur World Mew mew York: h Hill, in MQSBalEanBne Books, 1991), pp, 442444.G a ~ t S. cult'ne and Femhinc The NatumI Flow of Oppsites in the Psyche (Boston: Shambala, 19921, suggests a quatemity in place of Tarnas" dualiv, the masmline and feminine each having a static and a dpamic pole, The sta2i~-feminine/dpamicmasculine polarity conesponb to the more badiaonal banscendent-matenrratIa~~ressive-hero concept of gender; the tension of Westem mlmre, however, lies more on the staacmctsdineldpamic-feminine axis, co~esgondingto Apollonian/Dionysiam, senexlpuer, ox preservationlrenewai, 24. Jacob Needleman, A Sense of the Cosmos; Xrhe Encounler of Modem Science and Ancient Tmth /Mew Yark: Arkana, 1988). 25, An excellent spthesis of the n m disc~vefiesin nanlinear systems dpamics is F~tjofCapra, The 'tVeb of life: A

New Scientific Understanding of living Systems (New York: Anchor Books, 1996). 26. From "The Last judgement," welted in Aflhur C, Clarke, @d.,The Coming of h e Space Age (New York: Meredith Press, 19&7), p. 301, 27, Mailer, O f a Fire on the Moon, pp, 4125-413. 28. Wifliam f w n Thompson, Passages About EaHh: An Exploration of t-he New hnetary Culture (New York: Barper 4 Row, X974), p. 5. 29. Danief Bso~tin,Ckopatra" Nose: Essays on the Unexpcted (New York: Vintage, 1995), p. 17, 30,Chet Raymo, The Soul of t-treNight: An Astronomical Pilgrimage (EngXewood Clif%, N.J.:Prentice-Hall, 1985),p. ix,

Chapter Five 1. See robe^ jay ti&on and Eric Olsan, Living and Dying (New Yark: Bantam, 1975), ch*3; and Robed JayLiean, The LilFe of the Selfi Toward a Mew Psychofqy (New flork: Basic Books, 19831,ch. 2. 2. Paraphrasing a letter from Car1 Sagan, fthaca, N.Y., to Buzz Aldrin, Laguna Beach, Calif., March 1, 1994.

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. Entering

Space: Creating a Spacef"arr"ngCivilization.

New York: jeremy F", Tarcher, 1989,

Abstracl. vs. direa experience, S& Adalescence, 16, 18, 19, 38, 4G16041, 85, 8% 95, 96,97, 147

A4 rockets, 32 Ahab, 107 Alddn, Buzz, 92, 176 Alexander, Xming, 140 All-Story Magazine, 22 -erica, 18, 19 Axnundsen, RaaId, 68, 81 Andes, Dave, 176 Apollo 11 flight, 64, 68, 85, 89, 121, liftoff far, 86-87 Apollo program, 114, 157, 160

cost of, 88,90, 130, 135 Apollo 1 module Are, 4 M 1 , 156

Apollo 5 flight, 121 Apollo 8 flight, 81, 164-165, 176

Apallo 13 Bight, 119, 121-126, 127-128

Apollo 15 Right, 177 Apollo 26 flight, 91, 177 Apollo 17 flight, 88, 116, 177

Apollo-Saturn rocket, 28, 83, 85-84 Pad 34, 156, 157 public's perception/reaction, 90-.92, 130, 133, 134, See afso Spaceflight, public attit-ude toward scrapping of fast three Righ"cs, 13%131 See also Apollo l t aight Mollo 13 (film), 128, 129

Archimedean point, 76, 80, 150,168

Arendt, Hannah, 76, 80 Aristode, 15, 57 Armstrong, Neil, 94, 106, 121, 130, 176 A&, 154, l @ Asirnov, Xsaac, 53 Astounding Science Fiction, 44,50, 174 As&onaut:as symbol, 95-96, 11 1

Aswonomy, 69, 101, 179Cxzl) Auden, W. M,, 166 Autocenmc experience, 188(n12) Bacon, Francis, 9 Balance, 146, l931n20) Salboa, Vasca Nufiez de, 11,12 Berger, Peter, 136 Black holes, 113 Eflake, Wlliarn, 36, 141

Blue Planet, 64 Bly, Robeg, l92(n 19) Bohm, David, 1901n18)

Bonestell, Chesley, 44, 48-51, 54,56-57, 58, 59, 61, 6 2 4 3 , 65, 66,

67,8L Boors~n,Daniel, 155 Boman, Frank, 176 Boston Pmt, 24 Bradbury; Ray, 23 Brahe, Tycho, 5 Brain. lateralizalion, 145-146,189(n14) Btl"dges at T~ko-Ri,The, 126 Bumaughs, Edgar Ree, 19, 22-24 Calvinism, 95 Campbell, jshn W., 19, 44, 174 Campben, Joseph, SO, 92, 115, 153 Gartesian-NeWonian worldview, 72 Cathedrals, 10, 98, 99, 100, 10h105, 153-154, 160 Celestial mechanics, 4 Centerledge, 80, 81, 111, 122, 114-116, 117, 133, 155 Cerrran, Gene, 58, 110

Chafee, Rager, 40-41 Change, 8, 18-19, 154, 161, 188(n12) Chafires Calfie&al, 102-1 OS Childhood, 144, 170, 190(n18) Chimpanzees, 192Cn19) ChristianiQy; 72. See also Cathedrals; God Cfaes, 107 Glarke, Arthur, 23, 31, 44, 74 Claxton, Guy, 143, 19Q(n18) Cognitive sdence, 142 Collier$, 67 Colfins, Mike, 68, 91 Glurnbx'a shuttle Rights, 177 Cofumbus, Christopher, 5, 38, 54, 57, 76, 115 Comets, 2, 19, 170 Complexity; 149, 150, 187(nS) Computers, 121 Conquat of Space (Ley and Bonestell), 5&52, 62, 67

Conlacl (film),269 ConEroX, 142, 143, 144,

188(n23), 190(n27) Copernicus, Nicolaus, 9, 13, 2 79(n 1) Cosmic voyages, 8, 18, 21. See also Science fidon Cosmos series, 10&109, 17 7 Crealiviv, 62, 141-142, 143, 246, 151, 162, 189(n15), 192(n19) Cronkte, Waiter, 151 Csihzerxtmihalyi, Mihaly, 189(n15) CuI"Joslty, 143, 151, 161, 189(n14), 192(n19)

Dark maEer, 113 Death, 53, 160, 161, f 62 C)esca&es,Ren4, 9, 72 Despair, 95, l68 Destination Moon ($3Em), 35, 6247, 74, 182(n2) Die Rakte zu den

PXanetenraumen (Obeflh), 30 Donati's cornet (2858), 19-20 Domberger, Waller, 32, 33

Index

Bubb, Edwfn, 137 Duke, Charles, 1 10, 177

Ecolqy movement, 93 Ecstasy, 162 Edhger, Edward, 182(nl 7) Education, 134, 161 Eseley: Loren, 78-79, 104, 107, 108, 113 Eliot, T. S,, 96 Empi~cism,3, 4, 106 Enlightenment era, 16, 17, 18 Escapism, 19 Europe, 152 Evolution, 150, 151, 155, 164 Expanding univer~,21 Explarcnaon, 12, 78, 96, 139, 143, 145, 146, 147, 150, 151, 152, 155, 16G169, 1&8(rx12) Ex&atenesMal lift, 7, 21, 169 Failure of xzeme, 9, 128, 168 h n t q and Science @clion, 44

Fear, 139, 155 Ere, 153, 164 Flight direcrtork role, 120 For All Mankind (documentay), 92 Freedom, 18, 19, 154 French Revalu~on,17 From the EaHh 2T, the Moon mrne),17 Franaers, 18, 152-153 Fuel, 121 Fundamentalism, 72, 73

Gagarin, Yuri, 175 Caicz, 93, 107, 149 Galaxies, 21, 71, 107-108, 112, 155, 170 Galilei, Galileo, 6, 7, P, 13 Gemini missians, 121, 127,

175 Geman Rocket Sociely; 30, 33 Gfenn, fohn, 175 God, 3, 4, 72, 103, 12 3, X 36 Coddard, &$her, 28, 69 Gaddard, RobeH, 2f,24-28, 34, 44, 69 Goddard Space Center, 31

Gathic calhedrals, 102-1 05, See also Cathedrals Gravity, 4, 6 Great Comet of 1577, 2 Great Mother, 52-53, 54, 79, l14 Great mamid at Giza, 1W102, See also Pyramids Grissom, Gus, 40-41 Haise, Er&, f 22 Haldane, J.B.S., 151 Harmony of the World (Kepler), IS Hairt;manrz, Ernest, lXlt(n19) Heaven, 99, 103, 105 Heirzlein, Robert, 16, 35, 44, 63, 65, 66, 67 Hill, GareZ.h S., 194(n23) Hillman, James, 182(n17) Hitler, Adolf, 32 Xltubble, Edwin, 21 Human condition, 62, 76, 78,89, 148 Human expenace, zones of, 70-71 Humor, 189fn14)

Xapetus, 47 Idealism, 109,156 IdeaUzed past, 1 7, 18, 46 lmagintalion, 59, 133, 139, 241, 144, 167 Immofialfry; 107, 160, 1151-162 Encorne, 134 IndividuaEslindivid~aIbm~ 9, 13, 16, 18, 37, 39, 111, 147, 161. Intelligent Iife, quest for, 168 Internal models, 77, 78 Introversion/ex&aversi~n, 246141, 188(n13) JeEers, Robinson, 153 oumalism, 132 Jupiter, 177

Kalahari Bushmen, 76-77 Kant, Immanuel, 3 Kasputin Yar, 33 Kennedy, Jack, 88, 89 Kepler, fohannes, 1-8, 9, 10, 12, 13-16, 179(n1) death, of, l 6 family of, 14-1 5

laws of planetary motion, 3 4 , 5-45 Kerwin, foe, 125 Khmshchev, Miki"ta, 88 King, fack, 86 King li;ong#65 Knowledge, 154 Koestler, ATthur, 2, 3, 6, 13, 141 Kohut, Heinz, 143 Korolev, Sergei, 31 Kranz, Gene, 119-121, 123-129, 157 Lecznov, Alexei, 36, 37, 38, 39 Ley, Willy, 33, 44, 50 Liberalism, 135 Libet, Benjamin, 190(n17) Life maga;ziure, 46-47, 49, 50

LiMon, Rabert, 161 Lindbergh, Charles, 25 Lippert, Robert., 182(n2) Larenz, Konrad, 192(n19) Los Angeles ea~hquake (1994), 133 Love, 117, 154,171 Lavell, fim, 122, 176

Lowefl, Percival, 39-22 1, 44, 69 Luna flights, 175, 176 McDougall, Waiter, 131 MacLeish, Archibald, 92, 93, 96 Magellan, Ferdinand, 10-1 1 Mailer, Norman, 88, 152 Mariner flights, 20, 175, 2 77 Mars, S, 2%23, 25, 35, SO, 51, 57, 71, 73, 76, 80, 97, 98, 110, 130, 133, 166, 177, 178 canals OM,16, 20-21, 69 n/lart.ian Chmnicles (Bmdb~ry)~ 23 Masculinity, 39, 147, 148, 194(n23) Maslow Abraham, 138, 139-140 Materialism, 9, 10 Meaning, 10, 12, 16, 37, 45, 53, 57, 75, 89, 92, 94, 110, 114, 136, 137, 148-141, 143, 145, 146, 149, 153, 160, 162, 187(x18), 194(n2;?)

Index Meanslends, 89, 110, 132, 139, 154, 161, 188(xt12)

Media, 90, 122, 168, 194(n22). See also Television Medieval period, 2, 9, 10, 15, 19 Mermq-Redstone launch, 121

Medck, fohn, 109 MeWa Island, 83 Mirnas, 48 ModemiZy, 2, 12, 17, 19, 39, 73, 152 Moon, 29, 35, 50, 56, 57, 63,6445, 68,69-70, 73-74, 83, 93-94, 96-98, 99,106, 108, 110, 114, 124, 129, 130, 133, 251, 157, 175, 180(nn 3, 9)

moon shorts as hoax, 133 See also Apollo 1P Bight; Apollo program MaMfon, Philip, 76 Mumford, Lewis, 102 Music of the spheres, 4, 180(n3)

National Rwie.~u,135 Needleman, facob, 148 Newon, Isaac, 4, 6, 23, 15, 36, 72

New World, 51 New Vi3rk Ernes, 91 "Nighgall" (Asirnov), 53 Nixon, Richard, 131, 135 Oberth, I-fermann, 2'7, 25, 2&31,69 8orl[ cloud, 170 opacs, 7 Or"bi-ts, S

FainGngs, 4 7-5 1. See also BonestelX, Chesley Pal, George, 44, 63, 65, 6647

Pathfinder; 166, 178 Patriarchy, 147 Fearsan, Brew, 135 Peenemande, 29, 30, 31-32 Phoebe, 47

HcheI, Irving, 63, 65 Pfay, 110, 139, 152, 154, 255 Plutarch, 180fxx3) Plulo, 21 Palls, 2 34, 187(n9) Postman, MeiE, 133 Power issues, 134, 138, 139, 154, 361, 18f)(n14) Project klmnbase (AEm), 67 Protesmnt Ethic, 254 Puritans, 1l 6 Pyramids, 84, 98, W , 18G102, 106, 109, 253-154, 160 Rational consciausxless, 142, 143 Rationalism, 16-1 7, 147 Renaissance, 4, 152, 167 Ride, Sally, 178 Rockets, 25, 26, 29, 68, 49, 73, l l 4, 129, 131, 160, 1801n9). See also ixsdivr'duafrocket Vpes Rocketship X-M (film), l82(n2) Romanesque cathedrals, 104

Ramantidsm, 27, SO, 59, 69, 97, 109 Sagan, Garl, 21, 23, 84, 108-109, 167-170, 177,178 Sanford, Charles, 116 Satellites, 45 Sahrday Eveni~rgPose 66 Saturn, 47-48,5 P, 56 Saturn rockets, 28, 85, 87, 153-154 Sckmia, jack, 95 Sdersce, 4, 72, 73, 76, 88, 93, 106, 133, 146, 149, 150, 154, 169 of Egyptians, 182 scient;ilFicrevaluaon, S, 14 Science fiction, 7, 17, 18, 19, 23, 44, 45-46, 56, 61,97 fans ofp96, 98 SF Alms, 63, 65, 74, 85, 105, See also individual

films Seashores, 52, 52, 54-55, 56, 62, 78, 84:

Self-asserfion, 137-1 38, 141, 147, 149, 189(n14) SefEawareness, 62, 94, 137, 141, 143, 146, 150, 160, 171, 194fn22) Seventeenth centuv, 8-9, 13, 17, 19 SF. See Science Bction, SF Rlms Shapiro, joeb 140 Shelley, Mary, 17 Shepard, Al, 110,175 Simulaaons, 68 Sispbus, 80

program, pubiic's perceptionlreaeon spending for, 130, 134, 187fn9) Space race, 31 Spaceship Ea&h, 84, 107 Space stations, 176, 177, 178 Space walks, 36, 37, 40, 41, 175, 178 SpiA.ihtality, f 38, 146 Spidt vs, matter, 10, 15, 39, 117, 149, X55 Sputnik, 31, 68, 131 Stanford Unl'vexsfty, 128 "Star Thrower, The'" fbeley), 78-79 Stop-morrian photography; 66 Swess, 143, 144, 149, 150 Suvigeflplack, 122, 125 Symbols, 72, 75, 95, 99, 105, 123, 136, 143, 147, 160, 161, 167, 194(n22)

Smith, Charfie, 1l 6 Snow C. P,, 193(n21) Solar system, 71 Solipsism, 152 Somnkm (Kepler), 7-43 Space colonizarrion, 75 Spaceflight, 10, 30, 31, 35, 39, 4445, 50, 60, 56, 69, '73, 76, 96, 112, 113, 130, 147, 164, 167, 187(n8) chronology, 173-1 178 Tarnas, Rlcbard, 147-148, public amtude toward, 194(n23) 134, 187(n9), 192(n19), Technology, 106 See alscz Apollo

Index

Telenrzary; 28, 121 Telescopes, 7 Tejevisian, 131-133, 138, See also Media Tennyson, Alfred, 115 Tereshkavcx, VaXentina, 175 The Thing (film), 65 Thirrgs TO Come (film), 63 Thirty Years W ~ P14 ; Thompson, VViXliarn, 88, 154

Thoreau, Henry David, 90 Erne Machine, The (film), 67 Erne magazine, 166 Titan, 47, $1, 56 iritanic, 123 Tool-making, 75 Transcendence, 72, 97, 104, 105, 136, 146, 162, 194(n22) self-tmnscendence, 137, 139, 140, 144, 147, 249, 150, 151, 152, 189(n14) Tsiolko~sky~ Konstantin, 25, 69 2001: A Space Odyssex

74-75

Ulysses, 115-1 16 Under the M ~ o n soFMars (flurroughs), 22 Van Ronkel, Rip, 63 Venus, 69, 175, 276 Verne, jutes, 17, 19, 29, 44, 69, 18Q(n9) View of eaPEh, 36, 37, 38, 92-93,535, 117, 137 Mking nights, 20, X 7 2 von Braun, Wember, IQ, 30, 32-33, 67, 157 Voyager flights 167, 169-171, 177 V-2 rockets, 27, 29, 30, 32, 53-34, 35 casualties at Peenernande/Londorr, 34

U/ar o f the Worlds, The (Wells), 21-22, 24 as radio broadcast, 69 as film, 67 Washington Post; 91 Welles, Qrson, 69 WeHs, H.G,, 17, 19, 22, 44, 69

f ndex

When Worlds Collide (film), 67 White, Ed, 4041, 175 White, Frank, 78 White Sands, New Mexico, 27, 34, 35 "Why" qqtlestions, 57, 70, 75, 136 Winthrap, John, 116 Woman in the Moon (film), 29,6445

Wnder, 39, 73, 110, 111-112, 117, 132, 136-137, 139, 143, 145, 146, 147, 151, 152, 168, 161, 16-4, 167, 171 VJizrld War 11, 126

Young, John, 110, 177